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

Another enemy of creativity? excessive self-criticism. Accurate measurements in this area are not yet possible, but there must be some “balance” between giftedness and self-criticism so that too picky self-esteem does not lead to creative paralysis.

The third enemy of creativity? laziness. However, such an argument is also possible here. People strive to improve production in order to increase its productivity and reduce costs. Are they driven by the desire to have the maximum benefit with the minimum effort, in other words, to work less? receive more. It turns out that laziness serves as a stimulus for all innovations that facilitate work, and therefore is the "true mother of inventions", in the words of Norbert Wiener.

Despite all the temptation of such reasoning, we still have to admit that laziness does not at all contribute to creative activity. Just as the natural enjoyment of food can lead to gluttony and gluttony, so the enjoyment of rest and peace can acquire a self-sufficient value. The "feast of laziness" becomes a highly valued pleasure. It can be seen that not one talent was ruined by laziness.

uncritical acceptance of someone else's opinion (conformity, conciliation)

external and internal censorship

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

Desire to find an answer immediately

Dialogue of creative thinking

To understand creativity means to understand the mind of the creator, but not to describe (or prescribe) how to create. The most terrible of all is such a creature, unable to invent, but knowing “how it is done”. There is only one way to catch the inner life of the inventor of ideas and poems - through the mental dialogue of inner "I".

The creative process includes psychological, emotional, uniquely personal, paradoxically random moments. But we must, nevertheless, agree with the possibility of finding, even through the logic of the internal dialogue in the head of the creator - to depict, to understand creativity as a logical process. But how can one agree with this, because there is no logic in creativity (more precisely, creativity cannot be the subject of the science of logic). Thinking as creativity is artistic thinking, and it is radically illogical!

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

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

The primitive man began to think, painfully correlating the “idealized object” (the alleged ax), still completely vague, indefinite, still identical to the idea, with the real, external object (a fragment of stone), rechecking these objects with each other. In the discrepancy between these two objects, in the gap between them, in the necessity and impossibility of their coincidence, the seed of thought is placed, thinking grows. This is the original idea of ​​theorizing.

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

It is possible to feel, imagine, perceive something, but it is possible to think only about something. In sensations and ideas, I merge with the object of my sensation, I feel the blade of a knife as my pain. In thought I separate myself from the object of thought, I do not coincide with it. But the whole point is that an object that does not coincide with thought is an object of reflection; it exists for thought only to the extent that it correlates with the thought object. And at the same time, it is something "unthinkable", outside of thought (outside of me and independently of my consciousness) existing, given to thought as a riddle and never fully assimilated by it. It is in thought that I am opposed to the being of things in their "metaphysical" wholeness, their closedness "on themselves," their being outside the subject. But at the same time... The fairy tale about the white bull can continue indefinitely.

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

Theoretical creativity is the invention of any ideas, any, the most grotesque idealized objects in order to understand the object as it is (or as if it were), outside my practical activity and independently of it. The striving for the transpersonal, suprapersonal—this is what the pathos of thinking consists in. Only in the removal (theoretically in its potency) from oneself does it become possible to treat oneself as an “alter ego”, the seed of an internal dialogue appears. Poetry is radically non-dialogical, as Bakhtin wrote very accurately. That is why the internal dialogue of thinking as creativity is possible only for the theoretical mind. It is no coincidence that creative thinking should be taken as the subject of logical research as theoretical thinking, as an internal dialogue of the theoretician. It should be the language (speech) of the internal dialogue, in which there is a continuous mutual circulation of texts, their polyphony, counterpoint, and not just coexistence.

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

Isn't this whirling of the squirrel of thinking in the wheel of "dialogic" simply an escape from life, from practice, from Goethe's old wisdom - "theory, my friend, is sulfur, but the tree of life is eternally green..."?

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

Every person is inherently a creator. Look around, everything we see is man-made. People bring to life the most daring, fantastic ideas and invent something new every day. Even if you are not a professional artist, you still have a creative streak that helps you improve the world around you. The more creativity you show in small things, the more likely it is that your talent will show up in something significant. Like any activity, the creative process has its ups and downs. But sometimes the ability to think creatively fades into the background and is lost in the daily hustle and bustle. What hinders the development of our creative component?

Limiting yourself to conventional boundaries. There are always those who criticize your undertakings, ridicule your ideas and express distrust of your plans. Do not pay attention to their words and do not try to convince, just waste your time and effort. Trust your intuition, only it will lead you on the right path.

Unwillingness to know what impression your ideas make on others. Sometimes a person himself does not understand what discovery or work of art he has made. Creative ideas are tested many times before leaving their mark on the souls of mankind.

Active lifestyle without pauses and stops. Insights usually overtake us just when we move a little away from everyday problems and worries. The brain rests and we see the world around us from a slightly different point of view. To stimulate such states, often switch from one type of activity to another.

Fear of failing. Any innovation and change always implies a certain risk. Because of the fear of failure, a great many ideas perish at the very beginning of their inception. If you are confident in yourself and your passions, you will act decisively, realizing that failure is only a test followed by a step forward.

The desire to do only what has already become habitual. Doing the same thing, you will get the same results. In order to achieve new achievements and goals, it is necessary to periodically go beyond your comfort zone and take on new, still unexplored tasks.

Lack of enthusiasm. The creative process cannot take place in the absence of passion for the work. Only curiosity and genuine interest drive thought processes and stimulate the development of new ideas.

Lack of awareness. The creative process requires a sufficient amount of knowledge on the current issue. Only relying on knowledge, experience and logic can analyze the problem and produce a creative result.

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For self-realization, a person needs to engage in creativity- an activity in the course of which he uses his personal capabilities to create something new, unique.

The goal of creative activity is to use personal talent and imagination to solve problems, achieve goals, and realize purpose. The result of the creative process is a new, unique element that improves its creator or environment and provides new opportunities.

But in the process of creative activity, many obstacles constantly arise that a person needs to overcome.

What is stopping us from reaching our goal?

Lack of self respect

It manifests itself either in a lack of self-confidence and high self-criticism, or self-confidence or arrogance. This makes it difficult to take the first step to solve the problem and increases the risk of harm in the implementation of ideas. To overcome this obstacle, you need to develop self-confidence.

Laziness and weak will

They also make it difficult to start the creative process and overcome psychological inertia. To overcome them, it is necessary to train self-discipline.

Rigidity

Firmness, steadfastness in the means used to make decisions and achieve goals. Restricts a person to use new tools that may be more effective and reliable. To overcome this obstacle, one must develop imagination, flexibility of thinking, learn about the appearance of new means and apply them to solve problems and achieve goals.

Fear of failure, failure

It is a consequence of a lack of experience and the presence of uncertainty in the provision of impacts. Help or advice from a more experienced person, an expert who can give a correct assessment of the risks of the intended impact, helps to overcome this obstacle.

Lack of organization

Having too many things to do and ideas makes it hard to know which ones are important and need to be tackled first. To overcome this obstacle, you need to organize personal goals and affairs into a single reliable system. Such an organization allows freeing memory and consciousness from constant, repetitive thinking about these matters, which makes it difficult to generate new ideas.

Lack of prioritization

In the process of creative thinking, a large number of ideas are generated that need to be implemented. Some are very important and useful for solving the problem. They need to be implemented first. Others are less important and need to be put off until later, put in a queue. But most people don't define the importance of ideas - their priority. And they try to implement simpler, but less useful ideas. To overcome this obstacle, you need to learn how to prioritize ideas.

Congestion of consciousness

After being filled with consciousnesses with all possible knowledge that can help solve the problem, he needs to be allowed to rest, relax. But very often this is not done and consciousness is used to solve other problems. Increased workload of consciousness reduces the speed of generating ideas. To overcome this obstacle, you need to consciously take breaks to speed up the creative process.

conformism

Acceptance of other people's opinions and experiences without criticism and analysis. This personality trait is characterized by agreeing with everything that is in the environment, without assessing whether it is right or not, whether it is optimal or can be improved. To overcome this obstacle, critical thinking must be developed, everything new must be approached with the questions “why, why, for what ...”.

impatience

The person wants to find a solution to the problem immediately. But this requires a large amount of source material (knowledge, ideas) and a high level of intelligence development. But when the solution is not found in a short period of time, then the person simply stops dealing with this problem and switches to another, easier one. To overcome this obstacle, you need to train self-discipline, and especially perseverance.

Removing all these obstacles is guaranteed to increase the efficiency and success of creative activity. This, in turn, will accelerate the process of self-realization of a person.

What do you think about this?

Sincerely,
Evgeny Mokhnachev

I repeat the link to the site of Sergei Marchenko
"Personal Development - How to become successful and effective"

This entry was posted on 31.07.2012, 23:17 and is filed under . You can follow any responses to this entry through . Discussion is closed. Final and irrevocable.

This is not discussed.

With serious attempts to find an answer to the question of what hinders the manifestation of creative abilities were made by G. Lindsay, K. Hull and R. Thompson. They found that the manifestation of creativity is hindered not only by the insufficient development of certain abilities, but also by the presence of certain personality traits. So, one of the striking personality traits that hinder the manifestation of creative abilities is the tendency to conformism. This personality trait is expressed in the desire to be like others, dominating over creative tendencies, not to differ from most people in their judgments and actions.

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

With The next reason that inhibits the manifestation of creativity is the existence of two competing types of thinking: critical and creative. Critical thinking focuses on identifying flaws in other people's judgments. A person who has this particular type of thinking to a greater extent sees only shortcomings, but does not offer his constructive ideas, since he again closes himself in the search for shortcomings, but already in his judgments. With on the other hand, a person who is dominated by creative thinking tends to develop constructive ideas, but does not pay due attention to the shortcomings contained in them, which also negatively affects the development of original ideas.

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

Stages of the creative process

1. Awareness of the problem. In the course of understanding the problem, the moment of occurrence of the problem situation is emphasized. If the task is not given in finished form, its formation is associated with the ability to "see questions". At consideration of the issue is usually stated on the basis of the presence of an accompanying emotional reaction (surprise, embarrassment), which is then characterized as a direct cause that forces one to carefully consider the situation, which leads to an understanding of the available data.

2. Development of a hypothesis. This is where the solution to the problem begins. This stage is most often qualified as the climax of the decision, as its central link, as a kind of leap, i.e. a decisive transition from what is seen to what is not. As at the previous stage, the greatest importance here is given to past experience, to the attraction of theoretical propositions, the generalized content of which takes the decisive person far beyond the limits of available knowledge. The use of previously acquired knowledge as a means of solving by comprehending them and transferring them to new conditions makes it possible to compare part of the conditions, on the basis of which a conjecture, a hypothesis is built (an assumption, an idea, a concept taken on trial, a conjectural decision principle, etc.).

3. Verification of the solution. The final stage is the logical proof of the truth of this judgment and verification of the solution by means of practice. Under favorable conditions, a successfully put forward hypothesis turns into a theory.

Creation- the process of human activity that creates qualitatively new material and spiritual values ​​or the result of creating a subjectively new. 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 an activity that generates something qualitatively new, something that has never existed before. Creativity is the creation of something new, valuable not only for this person, but also for others.

Types and functions of creativity

Vitaly Tepikin, a researcher of the creative factor of a person and the phenomenon of the intelligentsia, singles out artistic, scientific, technical, sports-tactical, as well as military-tactical creativity as independent types.S. L. Rubinstein 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, is that it must create a thing, a real object, a mechanism or a technique that solves a certain problem. This determines the originality of the creative work of the inventor: the inventor must introduce something new into the context of reality, into the real course of some kind of activity. This is something essentially different than solving a theoretical problem in which a limited number of abstractly distinguished conditions must be taken into account. At the same time, reality is historically mediated by human activity, technology: it embodies the historical development of scientific thought. Therefore, in the process of invention, it is necessary to proceed from the context of reality into which something new must be introduced, and take into account the corresponding context. This determines the general direction and the specific character of the various links in the invention process.

Creativity as an ability

Creativity(from English. create- create, english creative- creative, creative) - the creative abilities of an individual, characterized by a willingness to create fundamentally new ideas that deviate from traditional or accepted patterns and are included in the structure of giftedness as an independent factor, as well as the ability to solve problems that arise within static systems. According to the authoritative American psychologist Abraham Maslow, this is a creative direction that is innate in everyone, but lost by the majority under the influence of the environment.

At the everyday level, creativity manifests itself as ingenuity - the ability to achieve a goal, find a way out of a seemingly hopeless situation using the environment, objects and circumstances in an unusual way. Shire is a non-trivial and ingenious solution to the problem. And, as a rule, meager and non-specialized tools or resources, if material. And a bold, non-standard, what is called a non-stamped approach to solving a problem or meeting a need located in an intangible plane.

Criteria for creativity

Criteria for creativity:

• fluency - the number of ideas that arise per unit of time;
• originality - the ability to produce unusual ideas that differ from the generally accepted ones;
• flexibility. As Ranko notes, the importance of this parameter is due to two circumstances: firstly, this parameter allows us to distinguish individuals who are flexible in the process of solving a problem, from those who show rigidity in solving them, and secondly, it allows us to distinguish individuals who are original solve problems, from those who demonstrate false originality.
• receptivity - sensitivity to unusual details, contradictions and uncertainty, willingness to quickly switch from one idea to another;
• metaphor - readiness to work in a completely unusual context, a tendency to symbolic, associative thinking, the ability to see complex in simple, and simple in complex.
• Satisfaction is the result of creativity. With a negative result, the meaning and further development of feelings are lost.

By Torrance

• Fluency - the ability to produce a large number of ideas;
• Flexibility - the ability to apply a variety of strategies in solving problems;
• Originality - the ability to produce unusual, non-standard ideas;
• Elaboration - the ability to develop in detail the ideas that have arisen.
• Closure resistance is the ability not to follow stereotypes and stay open for a long time to a variety of incoming information when solving problems.
• The abstractness of the name is the understanding of the essence of the problem of what is really essential. The naming process reflects the ability to transform figurative information into verbal form.

Creativity as a process (creative thinking)

Stages of creative thinking

G. Wallace

The description of the sequence of stages (stages) is best known today, which was given by the Englishman Graham Wallace in 1926. He identified four stages of creative thinking:

1. Training- formulation of the problem; attempts to solve it.
2. Incubation- temporary distraction from the task.
3. - the emergence of an intuitive solution.
4. Examination- testing and/or implementation of the solution.

However, this description is not original and goes back to the classic report of A. Poincaré in 1908.

A. Poincare

Henri Poincare, in his report to the Psychological Society in Paris (in 1908), described the process of making several mathematical discoveries by him and identified the stages of this creative process, which were subsequently distinguished by many psychologists.

stages

1. At the beginning, a task is posed and attempts are made to solve it for some time.

“For two weeks I tried to prove that there could be no function analogous to the one that I later called automorphic. I was, however, quite wrong; every day I sat down at my desk, spent an hour or two at it, exploring a large number of combinations, and did not come to any result.

2. This is followed by a more or less long period during which the person does not think about the problem that has not yet been solved, is distracted from it. At this time, Poincaré believes, unconscious work on the task takes place. 3. And finally, there comes a moment when suddenly, without immediately preceding reflections on the problem, in a random situation that has nothing to do with the problem, the key to the solution appears in the mind.

“One evening, contrary to my habit, I drank black coffee; I couldn't sleep; ideas crowded together, I felt them collide until two of them came together to form a stable combination.

In contrast to the usual reports of this kind, Poincaré describes here not only the moment of the appearance of a solution in consciousness, but also the work of the unconscious that immediately preceded it, as if miraculously becoming visible; Jacques Hadamard, referring to this description, points to its complete exclusivity: "I have never experienced this wonderful feeling and I have never heard that anyone but him [Poincaré] experienced it." 4. After that, when the key idea for the solution is already known, the solution is completed, verified, and developed.

“By morning I established the existence of one class of these functions, which corresponds to the hypergeometric series; I had only to record the results, which took only a few hours. I wanted to represent these functions as a ratio of two series, and this idea was completely conscious and deliberate; I was guided by the analogy with elliptic functions. I asked myself what properties these series should have, if they exist, and I managed without difficulty to construct these series, which I called theta-automorphic.

Theory

Theorizing, Poincare depicts the creative process (by the example of mathematical creativity) as a sequence of two stages: 1) combining particles - elements of knowledge and 2) the subsequent selection of useful combinations.

Poincaré notes that the combination occurs outside of consciousness - ready-made "really useful combinations and some others that have signs of useful ones, which he [the inventor] will then discard, appear in consciousness." Questions arise: what kind of particles are involved in the unconscious combination and how does the combination occur; how the "filter" works and what are these signs by which it selects some combinations, passing them into consciousness. Poincaré gives the following answer.

The initial conscious work on the problem actualizes, "sets in motion" those elements of future combinations that are relevant to the problem being solved. Then, unless, of course, the problem is solved immediately, there comes a period of unconscious work on the problem. While the conscious mind is busy with other things, in the subconscious, the particles that have received a push continue their dance, colliding and forming various combinations. Which of these combinations enter consciousness? These are the combinations "of the most beautiful, that is, those which most affect that special sense of mathematical beauty known to all mathematicians and inaccessible to the profane to such an extent that they are often inclined to laugh at it." So, the most "mathematical beautiful" combinations are selected and penetrate into consciousness. But what are the characteristics of these beautiful mathematical combinations? “These are those whose elements are harmoniously arranged in such a way that the mind can effortlessly embrace them entirely, guessing the details. This harmony is at the same time the satisfaction of our aesthetic senses and a help for the mind, it supports it and guides it. This harmony gives us the opportunity to anticipate the mathematical law. “Thus, this special aesthetic sense plays the role of a sieve, and this explains why one who is deprived of it will never become a real inventor.”

From the history of the issue

Back in the 19th century, Hermann Helmholtz similarly, although less detailed, described the process of making scientific discoveries “from the inside”. In these self-observations of his, the stages of preparation, incubation and illumination are already outlined. Helmholtz wrote about how his scientific ideas are born:

These happy inspirations often invade the head so quietly that you will not immediately notice their significance, sometimes you will only indicate later when and under what circumstances they came: a thought appears in the head, but you don’t know where it comes from.

But in other cases, a thought strikes us suddenly, without effort, like inspiration.

As far as I can judge from personal experience, she is never born tired and never at a desk. Each time I first had to turn my problem in every possible way in every way, so that all its twists and turns lay firmly in my head and could be rehearsed by heart, without the help of writing.

It is usually impossible to get to this point without a lot of work. Then, when the onset of fatigue had passed, an hour of complete bodily freshness and a feeling of calm well-being were required - and only then did good ideas come. Often ... they appeared in the morning, upon awakening, as Gauss also noted.

They were especially willing to come ... during the hours of a leisurely ascent through the wooded mountains, on a sunny day. The slightest amount of liquor seemed to scare them away.

It is curious to note that stages similar to those described by Poincaré were identified in the process of artistic creation by B. A. Lezin at the beginning of the 20th century.

1. Work fills the sphere of consciousness with content, which will then be processed by the unconscious sphere.
2. Unconscious work represents a selection of the typical; “but how that work is done, of course, it cannot be judged, it is a mystery, one of the seven world mysteries.”
3. Inspiration there is a "shifting" from the unconscious sphere into the consciousness of a ready-made conclusion.

Stages of the inventive process

P. K. Engelmeyer (1910) believed that the work of an inventor consists of three acts: desire, knowledge, skill.

1. Desire and, the origin of the idea. This stage begins with the appearance of an intuitive glimpse of an idea and ends with the inventor's understanding of it. A probable principle of invention arises. In scientific creativity, this stage corresponds to a hypothesis, in art - to an idea.
2. Knowledge and reasoning, scheme or plan. Development of a complete detailed idea of ​​the invention. Production of experiments - mental and real.
3. Skill, constructive implementation of the invention. Assembly of the invention. Doesn't require creativity.

“As long as there is only an idea (Act I) from the invention, there is still no invention: together with the scheme (Act II), the invention is given as a representation, and the III act gives it a real existence. In the first act, the invention is supposed, in the second, it is proved, and in the third, it is carried out. At the end of the first act, it is a hypothesis; at the end of the second, a representation; at the end of the third - a phenomenon. The first act determines it teleologically, the second - logically, the third - in fact. The first act gives a plan, the second - a plan, the third - an act.

P. M. Jacobson (1934) distinguished the following stages:

1. The period of intellectual readiness.
2. Perception of the problem.
3. The origin of the idea - the formulation of the problem.
4. Search for a solution.
5. Obtaining the principle of the invention.
6. Turning a principle into a scheme.
7. Technical design and deployment of the invention.

Factors hindering creative thinking

• uncritical acceptance of someone else's opinion (conformity, conciliation)
• external and internal censorship
• rigidity (including the transfer of patterns, algorithms in solving problems)
• desire to find an answer immediately

Creativity and personality

Creativity can be viewed not only as a process of creating something new, but also as a process that occurs during the interaction of a person (or the inner world of a person) and reality. At the same time, changes occur not only in reality, but also in personality.

The nature of the connection between creativity and personality

“The personality is characterized by activity, the desire of the subject to expand the scope of his activity, to act beyond the boundaries of the requirements of the situation and role prescriptions; orientation - a stable dominant system of motives - interests, beliefs, etc. ... ". Actions that go beyond the requirements of the situation are creative actions.

In accordance with the principles described by S. L. Rubinshtein, by making changes in the surrounding world, a person changes himself. Thus, a person changes himself by carrying out creative activity.

B. G. Ananiev believes that creativity is the process of objectifying the inner world of a person. Creative expression is an expression of the integral work of all forms of human life, a manifestation of his individuality.

In the most acute form, the connection between the personal and the creative is revealed by N. A. Berdyaev. He's writing:

Personality is not a substance, but a creative act.

Creativity Motivation

V. N. Druzhinin writes:

Creativity is based on the global irrational alienation of man from the world; it is directed by a tendency to overcome it, it functions according to the type of "positive feedback"; a creative product only spurs the process, turning it into a pursuit of the horizon.

Thus, through creativity, a person is connected with the world. Creativity stimulates itself.

Mental health, freedom and creativity

The representative of the psychoanalytic trend, D. W. Winnicott, puts forward the following assumption:

In the game, and perhaps only in the game, a child or an adult has the freedom of creativity.

Creativity is about play. The game is a mechanism that allows a person to be creative. Through creative activity, a person seeks to find his self (himself, the core of the personality, the deep essence). According to D. V. Winnicott, creative activity is what ensures a healthy state of a person. Confirmation of the connection between play and creativity can also be found in C. G. Jung. He's writing:

The creation of a new one is not a matter, but an attraction to the game, acting on internal compulsion. The creative spirit plays with the objects it loves.

R. May (a representative of the existential-humanistic trend) emphasizes that in the process of creativity, a person meets the world. He's writing:

... What manifests itself as creativity is always a process ... in which the relationship between the individual and the world is carried out ...

N. A. Berdyaev adheres to the following point:

The creative act is always liberation and overcoming. It has an experience of power.

Thus, creativity is something in which a person can exercise his freedom, connection with the world, connection with his deepest essence.