Methods for diagnosing creativity. Methods for diagnosing creativity Creativity from the point of view of psychology

The main tasks of education and upbringing of the personality include the upbringing of the basic culture, the comprehensive development of the personal potentials of students. One of the components of personal potential is creativity. As it develops, it increases cognitive interest to the subject, the level of intellectual development, the degree of independent thinking, interest in performing tasks of a search nature, such qualities as curiosity, self-confidence, and conviction are formed.

The creative potential of students develops in the process of activity in solving various problems. The emerging problem situation requires a specific solution, which in creativity can be expressed objectively or subjectively for each person.

We can say that creativity is the solution of creative problems. At the same time, we define the creative task as follows. This is a situation that arises in any type of activity or in everyday life, which is perceived by a person as a problem that requires the search for new methods and techniques, the creation of some new principle of action, technology.

Creativity is a complex, integral concept that includes natural-genetic, social-personal and logical components, which together represent the knowledge, skills, abilities and aspirations of the individual to transform (improve) the world around them in various fields of activity within the framework of universal human norms of morality and ethics. The "creativity" manifested in a particular field of activity is the "creative abilities" of a person in a particular type of activity, as well as a complex personality-activity formation, including motivational-targeted, meaningful, operational-activity, reflexive-evaluative components that reflect the totality of personal qualities and abilities, psychological states, knowledge, skills and abilities necessary to achieve a high level of its development. The term itself can often be used as a synonym for "creative personality", "gifted personality". The value of creativity, its functions, lie not only in the productive side, but also in the very process of creativity.

At the heart of modern pedagogical science is the understanding of man as a creative being. It is in creativity that his essence is revealed as a transformer of the world, a creator of new technologies and ideas. In society, more and more often, in connection with the problem of creativity, they talk about a creative person who is endowed with such features as orientation, self-knowledge, the ability to see the problem, analyze the situation, mobilize knowledge, put forward hypotheses, evaluate results, think critically, etc. .

The uniqueness of each person is beyond doubt, but the ability to present oneself, to consider every moment of life as a creative act that allows self-realization, is a problem for many. Since people most often act according to a pattern, pre-programmed norms, which often leads to a protest against the demands of society.

Thus, the task of forming the creative potential of the individual at various stages of the functioning of the education system is timely. The ability to be creative is inherent in every person. It is important to see these abilities in a child in time, equip him with a method of activity, give him the key in his hands, create conditions for the identification and flourishing of his giftedness.

Great importance in creative activity has a continuous creative process. Practice shows that episodic creative activity is ineffective. It can arouse interest in a particular work being performed, activate cognitive activity during its implementation, and may even contribute to the emergence of a problem situation. But episodic creative activity will never lead to the development of a creative attitude to work, the desire for invention and rationalization, experimental and research work, i.e., the development of the creative qualities of the individual. Continuous, systematic creative activity of students throughout all the years of schooling will certainly lead to the development of a sustainable interest in creative work, and, consequently, to the development creativity.

In the process of developing creative potential, it is desirable to rely as much as possible on the positive emotions of students (surprise, joy, sympathy, experiences of success, etc.). Negative emotions suppress manifestations of creative thinking.

However, creativity is not just a surge of emotions, it is inseparable from knowledge, skills, and emotions only accompany it, spiritualize human activity. When solving any problems, an act of creativity takes place, there is new way or create something new. This is where the development of special qualities of the mind is required, such as observation, the ability to compare and analyze, find connections and imagine everything that together constitutes creative abilities.

The ability to compare, analyze, combine, find new approaches - all this together constitutes creative abilities.

Students have a variety of potential abilities. Nature endowed them with the ability to think vividly and emotionally, to empathize with the new, to perceive the world holistically. The task of a technology teacher is to identify and develop creative potential in activities that are accessible and interesting for students.

Practice shows that developing abilities means equipping the student with methods of activity, giving him the key, the principle of doing work, creating conditions for the identification and flourishing of his giftedness. Abilities are not just manifested in labor, they are formed, developed, flourish in it and perish in inaction. Therefore, for the development of creative activity, it is necessary to create certain conditions.

1. Early start.

2. Smart, friendly adult help.

3. Trusting atmosphere of empathy, cooperation

4. Motivation of the task.

The lessons of technology and creativity are inconceivable without the creation of a special emotional atmosphere of enthusiasm, which contributes to creative, creative activity. It is achieved with the help of the teacher's living word, his countless dialogues with students, music, visual images, poetic text, game situations.

The creative process is going beyond stereotypes. Researchers are convinced that the presence of any motivation and personal passion is the main sign of a creative person. To this are often added features such as independence and conviction.

Thus, the following traits can be distinguished among creative people:

- independence - personal standards are more important than group standards;

- impartiality of assessments and judgments;

- openness of mind - readiness to believe one's own and other people's fantasies;

- susceptibility to the new and unusual;

– high tolerance for uncertain and unsolvable situations;

- constructive activity in these situations;

- developed aesthetic sense, the desire for beauty.

The personality of the teacher plays a special role in the development of the creative potential of students. It is he who bears the main responsibility for identifying potential abilities and talents, he is responsible for the fate of the younger generation. The school should teach not only logical, but also creative thinking, develop feelings.

Firstly, the task of the teacher is to increase the level of children's perception of the surrounding reality: in objects, phenomena, actions. To teach students to understand true beauty, which may not always be bright, loud, but may be quiet and calm, modest and discreet. And, secondly, it is necessary to teach not only to perceive the good and beautiful, but also to lead them to the fact that they are active in their lives. At the same time, one of the most important tasks of a teacher is to teach creative vision. After all, it is precisely this skill that distinguishes a person-creator, a person-creator.

The professional and pedagogical activity of creatively working teachers is related to the quality of the performance of the following functions: formative, diagnostic, prognostic, constructive, organizational, communicative, research, socio-political, analytical.

The study of the teacher's readiness for the implementation of these functions at the creative level was carried out by modeling, observing the real educational process, conducting business games of various modifications, and using the method of expert assessments. It has been established that, realizing the formative function, the teacher builds the educational process on a methodological basis; is fluent in modern psychological and pedagogical concepts of education and uses them as a basis in his practical activities; has a strong and versatile knowledge in his subject, significantly exceeding the knowledge of the program; freely orientated in special and methodical literature, uses it creatively; teaches with passion, feels the need for pedagogical activity; creatively uses the forms and methods of the educational process and creates his own; skillfully stimulates self-education and self-education of students; provides deep and solid knowledge of students in their subject, strives to achieve a high level of upbringing of students.

A creatively working teacher shows great interest in diagnostic activities. When studying the personality of the student and the team, he is guided by methodological principles, uses various methods and specific techniques, and can comprehensively characterize the personality and the team. The forecasting function is implemented on the basis of deep knowledge of the laws governing the formation of the individual and the team; the teacher knows the zone nearest development"each student and on this basis builds his interaction with him, approaches him with an" optimistic hypothesis "; builds the educational process, taking into account diagnostic data and perspectives.

A teacher who implements a constructive function at a creative level reveals a desire for targeted integrated planning of his activities based on knowledge of management theory, psychological and didactic foundations for building an educational process.

To attract to creativity, the teacher must take into account many factors that develop the student.

1. Interests of the student, personal qualities, skills, inclinations.

2. It is necessary to take into account the fact that no one except him will give a “correct” solution to the creative task facing him.

3. When choosing the forms of lessons, one must take into account what can best captivate children, namely, choose those classes where you can dream up, and, as far as possible, surround the child with such an environment and such a system of relations that would stimulate his most diverse creative activity.

4. Both in game lessons and in ordinary ones, it is necessary to take into account the fact that the child begins to express himself, starting from the first grade. And therefore, he should not impose his vision too much, but only suggest, hint, direct on the right path, encourage a non-standard approach.

Recognition of the student as the main effective figure in the educational process, the implementation of the problems of the creative development of the individual require the development of pedagogical technologies, the purpose of which is not the accumulation of knowledge and skills, but the constant enrichment of creative experience and the formation of a mechanism for self-organization of each student. In science, the problem is still being discussed whether it is possible to learn creativity, creative thinking; however, the experience of the experimental schools and NGOs makes it possible to answer this question in the affirmative. The main goal of these educational institutions is to overcome the alienation of the student from the environment and provide him with the opportunity to actively explore it himself. Only in the process of independent activity can a child develop the skills of continuous intellectual self-development.

Under these conditions, the task of forming and developing the creative potential of the organization becomes very relevant. Human potential plays a paramount role in creating the creative potential of an organization. The professional knowledge of the employees of the organization is determined primarily by the level and quality of education. The growth of human assets also occurs in the process of targeted training of specialists, conducting training sessions to improve the skills and professional retraining of employees of the organization.

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prof., d.e.s. Blinov Andrey Olegovich, VZFEI, Moscow

Associate Professor, Ph.D. Rudakova Olga Stepanovna, VZFEI, Moscow

DIAGNOSTICS OF THE CREATIVE POTENTIAL OF ORGANIZATIONS

Economies of developed countries market economy This is an economy with clearly expressed innovative features. A necessary factor in innovative development is a creative approach to managing organizations. A key element of effective production is a person - creative, creatively thinking, searching. Up to 40% of GDP in developed countries is created by creative workers. Under these conditions, the task of forming and developing the creative potential of the organization becomes very relevant. Using the abilities embodied in people allows organizations to intensify innovation, improve the quality and competitiveness of products and services.

The creative potential of the personnel can be defined as the ability and determination to overcome obstacles, to solve the set tasks. A distinction is made between motivated and unmotivated approaches. In the first case, creativity is based on knowledge, choice of methods, social criteria, cultural universals, and so on. In the second case, knowledge may not play a decisive role, and then the process of using creativity becomes intuitive, goes the way trial and error.

Human potential plays a paramount role in creating the creative potential of an organization. The concept of human potential includes:

• competence, ability to solve problems;
• intelligence;
• Creative skills;
• demographic and spiritual potential;
• leadership skills;
• motivation;
• psychometric data.

The professional knowledge of the employees of the organization is determined, first of all, by the level and quality of education. The growth of human assets also occurs in the process of targeted training of specialists, conducting training sessions to improve the skills and professional retraining of employees of the organization. In this regard, in leading companies and firms in the United States and Western Europe, training of employees during their working life in the organization is of particular importance. Up to 2030% of working time is devoted to study.

Employee knowledge is a toolkit through which intellectual products are created as a result of the creative process. The creation of intellectual products generates new knowledge, thereby increasing human assets and the creative potential of the organization.

However, in order to implement the existing and acquired knowledge, experience, skills in solving professional problems, tasks that arise in innovation activities organizations. First of all, skills creative work. Quite often there is experience and skills of some specialists that are unique to this employee and cannot be transferred to any other member of the organization's team. In creative activity, this is the experience of foresight, an intuitive choice of the direction of research, methods of solving problems.

The possibilities of successful acquisition of knowledge and skills largely depend on the professional qualities of the employee and, above all, on the psychometric characteristics and abilities of the person. Very important for building human assets by increasing the volume of collective knowledge and skills are such employee abilities as:

• learning ability, susceptibility to new knowledge, thirst for new knowledge;
• propensity for critical thinking;
• the ability to abstract, simulate the situation, the development of information technology;
• efficiency, perseverance in achieving the goal, in solving problems;
• efficiency, organization, creative "vein".

Not the last role in building up human assets in the life of an organization is played by professional inclinations, a creative approach to work and the professional qualifications of employees. Essential in this case is the correspondence of these characteristics to the place occupied by the employee in the team, the correspondence of the qualities of the employee to the tasks assigned to him.

If knowledge and experience can be acquired and built up by an employee of the organization in the process professional activity, especially actively in the process of creative activity, then the psychometric characteristics, abilities and inclinations of each individual are given to him by nature and can only be developed, but cannot be acquired as an element of training or education.

Creativity is associated with practical activities person and is evaluated depending on how he influences this activity. The creative potential of the staff social role, that is, a person’s actions from a goal to a result, can be understood and evaluated only on the basis of common system enterprise organization. The realization of the creative potential of each employee is inside a person and is carried out through the self-realization of the individual. The creative potential of each employee is fully realized only if it is identical to the needs of the organization as a whole.

In order to be responsible not only for the goals, but also for the results of the organization's activities, knowledge of how to use the creative potential of the staff, how to evaluate it is necessary. To assess the creative potential of the staff, it is necessary to activate it, that is, it is necessary to create conditions for its implementation within the organization.

When solving a certain business problem, there is a contradiction between what is and what the organization needs. This contradiction is, on the one hand, an internal incentive to activate the creative potential of each employee, on the other, an incentive to external activity in solving problems.

Modern business relies on creativity and staff development. Thus, from the experience of American firms, it follows that every $35,000 invested in education brings a profit of $1 million.

There are many methods for studying the activation of the creative potential of the organization's personnel. The most common of these are often referred to as the following:

• "brainstorming" and its varieties: individual, written, direct and massive kinds, and also known are the double method, the method with the evaluation of the idea, the reverse method, the "ship council" method, the "conference of ideas" method;
• method of focal objects;
• morphological analysis;
• trainings;
• coaching.

The potential of the creative activity of the team of employees of the organization, which provides effectivethe use of human assets, allows you to get more than the sum of the efforts of individual members of the organization, i.e. a synergistic effect is achieved.

The component of creativity is determined by the corporate culture. The corporate culture contributes to the accumulation of knowledge, the acquisition of new skills, the enrichment of experience and the improvement of professional qualities. The corporate culture of an organization is an integral part of the creative potential of an organization. It determines the effectiveness of the creative process and the success of building knowledge and skills by the employees of the organization.

In modern conditions of the rapid development of the innovative economy, continuous improvement of production, constant updating of manufactured goods and services, know-how acquires special importance, ensuring success in the competitive struggle and expanding market niches in the organization, all this increases the creative potential of the organization.

The use of the creative potential of staff requires the combined efforts of many people, so the formation of various communities of creative specialists of the organization is becoming increasingly important. The innovative groups formed in organizations are known under different names: business communities, communities of interest, creative groups, innovative teams, thematic groups, best practice teams, etc.

Communities are classified into four types:

1. to assist in solving everyday problems;
2. to develop and disseminate best practices, guidelines and procedures that can be used by members of the community;
3. to organize the management and disposal of the amount of knowledge and creativity that can be used by members of the community;
4. to innovate and create breakthrough ideas, knowledge and practical experience.

Business communities can exist within the organization or go beyond it, operate in the physical and virtual space.

A team is usually created to use the creative potential of staff to solve complex problems (for example, developing critical projects), perform special functions, and promote creativity. A team is a type of collective and is usually a small group of individuals with a variety of knowledge, skills and creativity.

Team members must have:

• willingness to understand and accept common goals, to cooperate, to perceive the opinions of others, to trust each other;
• the ability to identify and solve problems;
• propensity for learning and self-learning, for the exchange of information;
• communication skills, openness;
• high level special knowledge;
• the desire to achieve the best results;
• responsibility.

The team is characterized by:

• often by the inconsistency of the composition and leaders, which can change depending on the nature of the task being solved. This does not fully apply to the top management of firms, today also often acting as a team;
• the full responsibility of the leader, as the most competent member of the team in relevant matters, for the assigned direction and the assignment to the official head of the functions of the organizer and coordinator of all work;
• significant intellectual, creative potentials and the status of participants;
• high psychological and socio-psychological compatibility, cohesion, close mutual understanding, culture joint activities;
• a clear definition of the powers of each;
• making major decisions jointly after a thorough discussion, with the person responsible for the relevant direction having a casting vote.

Teamwork should correspond to the interests and abilities of a person (maximize the use of creative potential), be complex, diverse, provide an opportunity to show independence, learn and improve skills, and be fairly rewarded.

In modern organizations, teams are often relegated to the role of only generators of ideas at the appropriate stage of making a business decision, but there are different kinds groups (teams) that can contribute to the development of the creative potential of personnel, increase the dynamism and innovation of the organization.

Teams are created at all levels of the organization, but a special place among them is occupied by the top management team (Top Management), which deals with the most important and complex problems.

The climate of the scientific laboratory within which the team operates is a factor that determines the creativity as well as the effectiveness of the organization. A healthy climate in the unit is characterized by trust, openness, and a spirit of friendly competition. Secrecy, distrust, ambiguity in posing questions these are the symptoms of an inefficient organization, the functioning of which is unlikely to be purposeful and will be able to promote the development of creative potential.

Coaching is increasingly used to develop the creative potential of such teams. Coaching is a model of interaction, thanks to which a top manager increases the level of motivation and responsibility, both for himself and his staff.

An organization that uses coaching for top management has a number of competitive advantages. Its top managers are confident in their abilities and work with great interest and higher returns. In essence, coaching in management is an explanation, assistance in making decisions, a special tool for improving the effectiveness of a client's activities. Coaching clients can be both top managers and teams. The use of coaching increases the productivity of each top manager or the team as a whole, improves relationships in the team and unites the team, which acquires the ability to quickly and effectively respond to critical situations and successfully solve emerging problems.

In fact, coaching is a special support system for a person, which allows you to unleash your creative potential and achieve real results, both in professional and personal life, form a creative team, and in the most effective way.

The complexity of managing the creative potential of staff through teamwork may be due to the lack of a culture of joint activities, individualism, the desire for leadership, personal results, and impatience. This requires each participant to understand the overall situation. Therefore, an important role is played by the free exchange of information, the volume, completeness and accuracy of which far exceed those needed for operational management.

It should be noted that at present, systems, models and processes for managing the creative potential of personnel modern organizations should be varied and depend on the strategic goals, existing knowledge, abilities and skills of the staff. An analysis of existing practice makes it possible to single out the main processes in the management of the creative potential of personnel that are present in any model. These are the following processes:

• formation;
• usage;
• development.

Auxiliary processes include those processes that, to one degree or another, are included in all the main processes, permeate them, and ensure their flow:

• accumulation;
• spreading;
• protection;
• grade;
• control.

If the main processes of managing the creative potential of personnel can be conditionally called horizontal, then the auxiliary processes are vertical.

The processes of managing the creative potential of personnel can be designed as separate business processes, or they can be integrated as parts into the main business processes of the organization. They are related to strategy, change management and managing people as human capital that can be developed both qualitatively (knowledge, creativity) and quantitatively.

These processes can be positioned as a driving force of change and at the same time a reaction to them, since one way or another participation in teams acts as a link between the implementation of organizational strategy and individual changes.

The importance of teams as initiators of change, improvement and, accordingly, conductors of the strategy should be emphasized. To implement the processes of managing the creative potential of personnel, an easily accessible critical mass of employees is required, represented by the management team, especially middle and lower managers, due to the fact that it is the latter who are able to directly influence the efficiency of the organization.

Therefore, the role of team development is to support planned and implement spontaneous change in organizations. Organizations must choose whether to pursue a traditional approach based on identified needs or a creative approach based on thoughtful strategy exploration and the creation of "creative contradictions".

In our opinion, there are two ways to develop the creative potential of the organization:

• in the absence of an innovative and creative idea, the search for opportunities to use the results of innovative and creative activities of other organizations is carried out;
• if there is an innovative idea that was put forward by the creative team of the organization, further development of its own innovation is carried out.

The first direction of development of the organization's activities at this stage leads to an analysis of the possibilities of acquiring a patent or license and is carried out by studying mainly patent literature and information about the innovative activities of competitors. However, the possibility of acquiring a patent or license is determined by the financial condition of the organization, as well as the urgency of introducing a competitive product to the market. In the absence of financial opportunities to use the innovations of other organizations, there is a return to the search for their own innovative ideas.

It can be assumed that the most effective in managing the creative potential of the organization are innovative activities, that is, activities that use new, more advanced and effective principles for achieving results. Creativity is not determined by the absolute novelty of the event, the event itself can be known and used in other industries or services. In a particular process, which is managed in a given organization, a well-known event gives a new effect and allows you to get a better result than a traditionally conducted event. The totality of creative activities is a mechanism that provides an opportunity to improve the management of the creative potential of the organization.

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Creativity is an amalgamation of many qualities. The question of the components of human creativity is still open, although at the moment there are several hypotheses concerning this problem.

Creativity is divided into three main groups:

1) abilities associated with motivation (interests and inclinations);

2) abilities associated with temperament (emotionality);

3) mental abilities.

R. Sternberg (58) points out that the process of creativity is possible in the presence of three special intellectual abilities:

Synthetic ability to see problems in a new light and avoid the usual way of thinking;

Analytical ability to assess whether ideas are worth further development;

Practical-contextual ability to convince others of the value of an idea.

If an individual has too developed an analytical faculty to the detriment of the other two, then he is a brilliant critic, but not a creator. Synthetic Ability, not supported by analytical practice, generates a lot of new ideas, but not substantiated by research and useless. Practical ability without the other two can lead to brightly presented but "poor" ideas. Creativity requires independence of thinking from stereotypes and external influence.

Creativity, from Sternberg's point of view, implies the ability to take reasonable risks, willingness to overcome obstacles, intrinsic motivation, tolerance (tolerance) to uncertainty, willingness to resist the opinions of others.

A well-known domestic researcher of the problem of creativity A.N. Luk (25), based on the biographies of prominent scientists, inventors, artists and musicians, highlights the following creative abilities:

1) the ability to see the problem where others do not see it;

2) the ability to turn off mental operations, replacing several concepts with one and using symbols that are more and more capacious in terms of information;

3) the ability to apply the skills acquired in solving one problem to solving another;

4) the ability to perceive reality as a whole, without splitting it into parts;

5) the ability to easily associate distant concepts;

6) the ability of memory to produce the necessary information at the right moment;

7) flexibility of thinking;

8) the ability to choose one of the alternatives for solving a problem before checking it;

9) the ability to include newly perceived information in existing knowledge systems;

10) the ability to see things as they are, to distinguish what is observed from what is brought in by interpretation;

11) ease of generating ideas;

12) creative imagination;

13) the ability to refine the details, to improve the original idea.

Candidates psychological sciences V.T. Kudryavtsev and V. Sinelnikov (20), based on a wide historical and cultural material (the history of philosophy, social sciences, art, individual areas of practice), identified the following universal creative abilities that have developed in the course of human history:

1) realism of the imagination - a figurative grasp of some essential, general trend or pattern of development of an integral object, before a person has a clear idea about it and can enter it into a system of strict logical categories;

2) the ability to see the whole before the parts;

3) the supra-situational-transformative nature of creative solutions, the ability, when solving a problem, not just to choose, but to independently create an alternative;

4) experimentation - the ability to consciously and purposefully create conditions in which objects most clearly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.

Teachers-scientists and practitioners G.S. Altshuller, V.M. Tsurikov, V.V. Mitrofanov, M.S. Gafitulin, M.S. Rubin, M.N. Shusterman (14; 16; 17; 20; 30; 48; 53; 54), who develop programs and methods of creative education based on TRIZ (theory of inventive problem solving) and ARIZ (algorithm for solving inventive problems), believe that one of the components The creative potential of a person consists of the following abilities:

1) the ability to take risks;

2) divergent thinking;

3) flexibility in thinking and actions;

4) speed of thinking;

5) the ability to express original ideas and invent new ones;

6) rich imagination;

7) perception of the ambiguity of things and phenomena;

8) high aesthetic values;

9) developed intuition.

IN AND. Andreev (3) proposed a structural model that makes it possible to distinguish the following enlarged components (blocks) creativity personalities:

1. motivational and creative activity and orientation of the individual;

2. intellectual and logical abilities of the individual;

3. intellectual-heuristic, intuitive abilities of the individual;

4. worldview properties of the individual, contributing to creative activity;

5. the ability of the individual to self-government in educational and creative activities;

6. communicative and creative abilities of the individual;

7. effectiveness of creative activity.

In our opinion, the methods of these scientists are more suitable for children of senior school age. Therefore, consider what abilities other scientists have identified.

At L.D. Stolyarenko (43) identified the following abilities that characterize creativity: plasticity (the ability to produce many solutions), mobility (quick transition from one aspect of the problem to another, not limited to one single point of view), originality (generating unexpected, non-banal, non-trivial solutions).

The famous American psychologist D. Gilford (28) identified 16 such intellectual abilities. Among them: fluency of thought (the number of ideas that arise per unit of time), flexibility of thought (the ability to switch from one idea to another), originality (the ability to generate new non-standard ideas), curiosity (sensitivity to problems in the world), the ability to develop a hypothesis , fantastic (complete isolation of the answer from reality in the presence of a logical connection between the stimulus and the reaction), completeness (the ability to improve your "product" or give it a finished look).

The problem was further developed in the works of P. Torrens (58). His approach is based on the fact that the abilities that determine creativity include: ease, which is assessed as the speed of completing a task, flexibility, assessed as the number of switches from one class of objects to another, and originality, assessed as the minimum frequency of occurrence of a given answer in a homogeneous group. . In this approach, the criterion of creativity is not the quality of the result, but the characteristics and processes that activate creative productivity: fluency, flexibility, originality and thoroughness in the development of tasks. According to Torrens, the maximum level of creative achievements is possible with a combination of a triad of factors: creative abilities, creative skills and creative motivation.

In psychology, it is customary to associate the ability to creative activity, primarily with the peculiarities of thinking. Creative thinking is characterized by associativity, dialectic and system.

Associativity is the ability to see the connection and similarities in objects and phenomena that are not comparable at first glance. To formulate contradictions and find a way to resolve them allows dialectical thinking. Another quality that shapes creative thinking is consistency, i.e. the ability to see an object or phenomenon as complete system, perceive any subject, any problem comprehensively, in all the variety of connections; the ability to see the unity of interconnections in the phenomena and laws of development. The development of these qualities makes thinking flexible, original and productive.

A number of scientists (15; 27; 37; 55; 57; 58) are based on the connection of creative thinking with associations. S. Mednik notes that thinking is considered the more creative, the more distant are the ideas between which associations arise, they, in turn, must meet the requirements of the task and be characterized by utility. Ways of creative solutions based on associations are: intuition, finding similarities between individual elements (ideas), and mediating some ideas by others.

Creativity covers a certain set of mental and personal qualities that determine the ability to be creative. One of the components of creativity is the ability of the individual. Many of the researchers distinguish motivation, values, personality traits of the individual in creative behavior. Under the influence of motivation, creativity indicators increase.

K.M. Gurevich, E.M. Borisova (1) note that there are points of view on the motivation of creativity as a desire to take risks, to test the limits of one’s capabilities and as an attempt to best realize oneself, to maximize one’s capabilities, to perform new, unusual activities, to apply new ways of activity.

A.M. Matyushkin (30) believes that achievement motivation is necessary for creativity. According to Ya.A. Ponomarev (36), creativity is based on the global irrational motivation of human alienation from the world. Features of the motivation of a creative person are seen by him in satisfaction not so much with the achievement of the result of creativity, but in the process itself, the desire for creative activity.

There is also a special approach that links the level of intelligence and the level of creativity on a completely different basis. According to this approach, presented by M.A. Vollah and N.A. Kogan (28), the personality characteristics of a schoolchild depend on a different combination of intelligence and creativity levels.

In our study, we were of the opinion that for the optimal manifestation of creative abilities, the cognitive and motivational spheres of the personality must interact as an organic whole.

It is impossible not to take into account the social environment in which the personality is formed. Moreover, it needs to be actively shaped. Therefore, the development of creative abilities depends on what opportunities the environment provides for realizing the potential that each person has to varying degrees. The entire environment should be conducive to the development of creative abilities. V.N. Druzhinin notes that "the formation of creativity is possible only in a specially organized environment" (17,231). For example, M. Volakh and N. Kogan (28) speak out against strict time limits, an atmosphere of competition, and the only criterion for the correctness of an answer. In their opinion, for the manifestation of creativity, a relaxed, free environment, ordinary life situations when the subject can have free access to additional information on the subject of the assignment.

D.B. Bogoyavlenskaya (7.64) singled out a unit of measurement of creative abilities called "intellectual initiative". She considers it as a synthesis of the mental abilities and the motivational structure of the personality, manifested in the "continuation of mental activity beyond the required, beyond the solution of the problem that is put before the person."

An analysis of the psychological and pedagogical literature on the problem of the development of creative abilities has shown that a unified approach to assessing creative abilities has not yet been developed. Despite the difference in approaches to their definition, researchers unanimously single out creative imagination and the qualities of creative thinking (flexibility of thought, originality, curiosity, etc.) as essential components of creative abilities. The criterion is the creation of a new product, as well as the realization by a person of his own individuality, while it is not at all necessary to create some kind of product, etc. Almost all approaches emphasize such an important distinguishing feature creativity, as the ability to go beyond a given situation, the ability to set one's own goal.

Based on the analysis of various approaches to the problem of developing creative abilities, we identify the main directions in the development of creative abilities of younger students: the use of methods for organizing and motivating creative activity, the development of imagination and the development of thinking qualities.

At the beginning of the 20th century, “creativity” became a strictly scientific subject of research (P.K. Engelmeyer). Then a surge of activity in the study of certain aspects of the development of the creative potential of the individual is noted in the 60-80s. in philosophy (S.R. Evinzon, M.S. Kagan, E.V. Kolesnikova, P.F. Koravchuk, I.O. Martynyuk and others), as well as in psychology (L.B. Bogoyavlenskaya, L. B. Ermolaeva-Tomina, Y. N. Kulyutkin, A. M. Matyushkin, Y. A. Ponomarev, G. S. Sukhobskaya, etc.) (Yatskova, 2012).

In pedagogy, an active study of this phenomenon began in the 80-90s. (T.G. Brazhe, L.A. Darinskaya, I.V. Volkov, E.A. Glukhovskaya, O.L. Kalinina, V.V. Korobkova, N.E. Mazhar, A.I. Sannikova, and etc.). The creative potential of a person, as noted by O.Yu. Yatskova, was one of the key pedagogical concepts for understanding the personality as a systemic integrity in connection with its development and the most complete realization of internal essential forces [Yatskova, 2012].

The category “potential” is one of the general scientific concepts and is characterized as mental capabilities, inclinations, abilities, qualities, inclinations, energy, productive forces, the need for self-knowledge (I. Kant, G. Hegel, N. A. Berdyaev, M. K. . Mamardashvilli and others). This concept in the studies of K. Rogers, A. Maslow, E. Fromm correlates with the processes of actualization, implementation, deployment, reproduction, disclosure, embodiment, ascent to oneself, the desire to “go beyond”, the accumulation of social experience, self-creation, self-expression, self-affirmation, self-realization and development [Yatskova, 2012].

As I.M. Yarushin, the concept of “potential” implies such properties and possibilities of a person that can be realized and become a reality only under certain conditions. But the potential also acts as a result of development, as well as a complex systemic formation that contains new driving forces for further development [Yarushina, p.12].

Creativity is understood as a variety of psychological phenomena: the process of creating new material and spiritual values ​​(E.L. Yakovleva, E. Torrance, N. Rogers), the spiritual state of a person (V.D. Shadrikov), interaction leading to development (I .A. Ponomarev), the creation of something unique (D. Morgan), an element of any labor process (T.N. Balobanova, T. Edison), intellectual activity (D.B. Bogoyavlenskaya).

According to E.A. Yakovleva, creativity is the process of revealing one's own individuality. Creativity is inseparable from the individuality of a person, it appears as a realization by the personality of its universality [Yakovleva, p.10].

An analysis of the literature showed that there are many points of view on the essence of creativity. With all the variety of definitions of creativity, its overall characteristic is that creativity is the ability to create something new, original.

As I.M. Yarushin, the meaning of human existence comes down to the realization of this desire, in self-expression as finding oneself. Creativity, the ability to create is a generic quality of a person, i.e. inherent in everyone, but can be developed to varying degrees [Yarushina, 2007].

Being a rather complex formation, the creative potential of the individual does not have an unambiguous interpretation, a generally accepted definition. So, from the point of view of the axiological approach (M.S. Kagan, A.V. Kiryakova, etc.), creativity is understood as a repertoire of acquired and independently developed skills and abilities, as an ability to act and a measure of their implementation in a certain field of activity and communication [Yarushina, 2007].

The authors of the ontological approach (M.V. Koposova, V.N. Nikolko and others) consider creativity as a characteristic property of an individual that determines the measure of his capabilities in creative self-realization and self-realization. M.V. Koposova considers creativity as "a characteristic property of an individual that determines the measure of opportunities in creative self-realization and self-realization" [Koposova, 2007].

This phenomenon is recognized as the most important generative factor of mankind, a way of actualizing the creative essence of a single person.

From the point of view of the developing approach (O.S. Anisimov, V.V. Davydov, G.L. Pikhtovnikov), the creative potential of a person is defined as a set of real opportunities, skills and abilities, a certain level of their development.

Within the framework of the activity-organizational approach (G.S. Altshuller, I.O. Martynyuk, V.G. Ryndak), this phenomenon is considered as a quality that characterizes the degree of a person’s ability to carry out creative activities.

V.G. Ryndak defines creativity as “a system of personal abilities that allow optimally changing the methods of action in accordance with new conditions, and knowledge, skills, beliefs that determine the results of activity and encourage a person to creative self-realization and self-development” [Ryndak, 2008].

In the works of D.B. Bogoyavlenskaya, A.V. Brushlinsky, Ya.A. Ponomarev and others, an ability approach is presented that allows one to identify creativity with the creative abilities of a person and consider it as an intellectual and creative prerequisite for creative activity. In the works of D.B. Bogoyavlenskaya emphasizes that an indicator of creativity is intellectual activity, which combines two components: cognitive (general mental abilities) and motivational [Bogoyavlenskaya, 2003].

In the interpretation of Ya.A. Ponomarev's creativity is seen as "interaction leading to development". The researcher notes that “only a person with a developed internal plan of action is capable of full-fledged creative activity, which allows him to assimilate the amount of special knowledge of a particular field of activity necessary for its further development, as well as to claim personal qualities, without which it is impossible genuine creativity” [Ponomarev, 2006].

T.A. Salomatova, V.N. Markov and Yu.V. Sinyagin consider the creative potential of the individual from the standpoint of the resource approach. Researchers emphasize that the potential, being a resource indicator, is constantly consumed, renewed in the course of the subject's life, realized in relationship with the outside world, and is also a systemic quality [Salomatova, 2009].

According to the supporters of the energy approach (N.V. Kuzmina, L.N. Stolovich), creativity is identified with the psychoenergetic resources and reserves of the individual, which are expressed in the extraordinary intensity of spiritual life and can be discharged in other activities [Kuzmina, 2006].

P.F. Kravchuk, A.M. Matyushkin's creative potential of the individual is studied from the standpoint of an integrative approach. Researchers define integrativity as its characteristic property, and characterize creativity as a gift that everyone has. At the same time, an integrative personal characteristic acts as a systemic dynamic formation, which reflects the measure of the possibilities of actualizing its essential creative forces in real transformative practice; expresses a person's attitude to creativity (positions, attitudes, orientation [Kravchuk, 2009].

T.G. Braje defines creativity as the sum of a system of knowledge, skills and beliefs on the basis of which activities are built and regulated; a developed sense of the new, a person's openness to everything new; a high degree of development of thinking, its flexibility, non-stereotyping and originality, the ability to quickly change methods of action in accordance with new conditions of activity. And the development of creative potential as a whole consists in finding ways to develop each of the components and ways of their interrelationships [Brage, 2006].

N. V. Novikova defines creative potential as “a set of internal capabilities, needs, values ​​and appropriated means for a person to achieve such states of consciousness, which are expressed in the person’s readiness for creative self-realization and self-development; in the realization by the individual of his own individuality” [Novikova, 2011].

IN AND. Maslova defines the creative potential of an individual as a systemic characteristic (or system of properties) of an individual, which gives him the opportunity to create, create, find something new, make decisions and act in an original and non-standard way [Maslova, 2003].

An analysis of the philosophical and psychological literature shows that up to the present time there is no unity in the definition and content of the concept of "creativity".

In general, it can be concluded that the creative potential of the individual is an integral integrity of the natural and social forces of a person, providing his subjective need for creative self-realization and self-development.

From the point of view of Yu.N. Kulyutkin, the creative potential of an individual, which determines the effectiveness of his activity in a changing world, is characterized not only by the value-semantic structures that have developed in a person, the conceptual apparatus of thinking or methods of solving problems, but also by a certain general psychological base that determines them [Kulyutkin, 2006].

According to Yu.N. Kulyutkin, such a base (such a development potential) is systemic education personality, which is characterized by motivational, intellectual and psychophysiological reserves of development, namely:

- the wealth of the needs and interests of the individual, its focus on more and more complete self-realization in various areas of work, knowledge and communication;

- the level of development of intellectual abilities that allow a person to effectively solve new life and professional problems for him, especially of a global nature, that is: to be open to the new; to realistically approach emerging problems, to see them in all their complexity, inconsistency and diversity; have a broad and flexible mindset, see alternative solutions and overcome existing stereotypes; critically analyze experience, be able to draw lessons from the past;

– high working capacity of a person, his physical strength and energy, the level of development of his psychophysiological capabilities [Kulyutkin, 2006].

The structural and content plan of the creative potential, according to the researcher, reflects the complex of the abilities of the intellect, the complex of the properties of creativity, the complex of personal manifestations, but is not limited to them. The probability of manifestation of creative potential depends on the personal desire of a person to fully realize their capabilities, on the degree of their inner freedom; from the formulation of social feeling (effectiveness, creativity) [Kulyutkin, 2006].

Creativity contributes to bringing the individual to a new level of life - creative, transforming the social essence, when the individual realizes, expresses himself not only in the order of resolving the situation, responding to its requirements, but also in the order of a counter, opposing, transforming the situation and life itself decisions.

As I.M. Yarushin, when they talk about creativity in childhood, most often mean the disclosure in the process of training and education of the creative potential of the personality of a growing person [Yarushina, 2007].

Developing in the process of activity and stimulated by its leading motives, creativity characterizes the measure of the individual's capabilities and manifests itself as the ability to productively change and create a subjectively new product, thereby determining the creative style of the activity itself. Therefore, the goal of developing the creative potential of an individual is to create the prerequisites for its creative self-realization [Yarushina, 2007].

As an initial factor in the accumulation and realization of the creative potential of V.I. Maslova highlights motivational readiness for creativity. If the role of the genotype in the formation of general intellectual ability is great, then the environment and motivation become the determining conditions in the development of creative potential (E.A. Golubeva, V.N. Druzhinin, V.I. Kochubey, A. Maslow). The most general characteristic and structural component of the child's creative potential are cognitive needs, the dominant cognitive motivation. It is expressed in the search activity of the child, manifested in increased sensitivity and selectivity to the new and unusual [Maslova, 2003].

According to V.I. Maslov's creative potential includes the following structural components:

- the motivational component expresses the level and originality of the interests and hobbies of the child, the interest and activity of his participation in creative activity, the dominant role of cognitive motivation;

- the intellectual component is expressed in originality, flexibility, adaptability, fluency and efficiency of thinking; ease of association; in the level of development of creative imagination and in the use of its techniques; in the level of development of special abilities;

- the emotional component characterizes the emotional attitude of the child to the process and result of creative activity, the emotional attitude towards it, the emotional-figurative characteristics of the psyche;

- the volitional component characterizes the child's ability to the necessary self-regulation and self-control; qualities of Attention; independence; ability for volitional tension, striving for the goal of creative activity, the child's exactingness to the result of his own creativity [Maslova, 2003].

As V.I. Maslov, these components of creative potential are mutually interconnected and with its integral structure. Thus, providing conditions for the formation of interests will contribute to the development of the emotional sphere (K.E. Izard, A. Maslow, J. Singer, etc.); directed formation of the emotional-figurative sphere - the development of intelligence and motivation; the inclusion of an intuitive search and an associative process - the development of emotional and intellectual spheres; creation of intensive and long-term motivation for the development of all spheres; the formation of a critical attitude and aspirations to improve the products of creative activity - the development of the volitional sphere [Maslova, 2003].

An analysis of the psychological and pedagogical literature allows us to conclude that in order to develop creative potential, it is necessary to ensure the transition of the totality of creative abilities and mental neoplasms of preschoolers from a potential state to an actual one, from a state of possibility to an actual one, which as a result will encourage children to manifest and develop creative individuality.

Thus, the following conclusion can be drawn. As the analysis showed, there are the following approaches to the concept of "creativity": axiological, ontological, developing, activity-organizational, energy, ability, resource, integrative. The carried out theoretical analysis allows us to consider the creative potential of a person as a general personal ability of a person to create something new, which is expressed in the following features: personal (emotional stability, adequate or high self-esteem, focus on success, independence, self-confidence, motivation for creative self-expression); cognitive (curiosity, fluency, flexibility, originality of thinking); communicative (empathy, developed ability to interact).

Similar information.

The creative potential of an individual is a combination of its properties, state and abilities, a set of tools and techniques used in solving creative problems.

A characteristic feature of the creative potential of the individual is its redundancy in relation to implementation, the presence of a "reserve" of opportunities. The latter is a condition that allows the individual to effectively solve new problems.

Each person is born with unique abilities, certain inclinations to certain activities and talents. The creative potential of the individual is in everyone, but not everyone strives to develop it throughout their lives.

Creativity gives rise to imagination, fantasy in the human mind. This beginning is nothing but the desire to always develop, go forward, achieve perfection. The development of the creative potential of the individual can lead to hyperactivity of the human brain, the predominance of the unconscious over consciousness and, due to the combination of creativity and intelligence, can give rise to genius in a person.

The creative potential of the individual is a kind of core of his inner forces, helping him to realize himself. Some of the qualities that determine its potential are formed genetically, some - during the period of childhood development, and the rest of the component appears in different periods of human life.

So, a person's memory is genetically laid down, the sharpness of his thinking (depending on the conditions of both childhood and further development, it can either develop or become dull), his physical data and temperament.

Components of creativity

The basic component of creativity are:

1) special knowledge

2) breadth of outlook

3) internal and external readiness for creativity.

Without initial specialized knowledge, it is difficult to count on an effective creative process. Sometimes, to solve a problem, you just need to "pull up" the basic knowledge. In this case, the task from the category of creative can go into the category of algorithmic. Genuine creativity is connected with the idea, and basic knowledge is also necessary for its origin and disclosure. They serve as the basis for understanding the degree of contradiction between the opportunity and the task. But the creative process becomes much more difficult without expanding one's horizons and accumulating information in related areas, because often creative tasks are solved at an unconscious level, using knowledge from other areas. In the absence of knowledge, the contradiction is perceived as an abyss, there is a feeling of fear, a feeling of the impossibility of solving the problem. At the same time, creativity is initially blocked. In the presence of a certain amount of knowledge, the contradiction in the creative situation is experienced as anxiety, which is the "trigger" of the creative process.

The conditions for the development of the creative potential of the individual are laid down from childhood, when the formation of the main character traits of a person and his psychological features that determine future development. Under the influence of living conditions, certain qualities and psychological characteristics are strengthened or weakened, changed for better or worse.

1. Communicative.

2. Axiological.

3. Epistemological.

4. Creative.

5. Artistic potential.