Methods for diagnosing creativity. Modern problems of science and education Creativity and the desire to

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

A characteristic feature of the creative potential of a person is its redundancy in relation to implementation, the presence of a "stock" 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 for certain types of activities and talents. The creative potential of the individual is in everyone, but not everyone strives to develop it throughout their lives.

The creative principle gives rise to imagination, fantasy in human consciousness. This beginning is nothing more than the desire to always develop, go forward, achieve perfection. The development of the creative potential of a person can lead to the 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 a person is a kind of core of his inner forces that help him to self-actualize. 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, the acuity 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.

The ingredients of creativity

The basic components of creativity are:

1) special knowledge

2) breadth of horizons

3) internal and external readiness for creativity.

Without initial special knowledge, it is difficult to count on an effective creative process. Sometimes, to solve a problem, you just need to "pull up" basic knowledge. In this case, the task from the category of creative can go into the category of algorithmic. Genuine creativity is associated with an intention, and basic knowledge is also necessary to generate and unfold it. They serve as the basis for understanding the extent of the contradiction between the opportunity and the task. But the creative process becomes much more difficult without broadening 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, a feeling of fear arises, a feeling of the impossibility of solving the problem. In this case, creativity is initially blocked. In the presence of a certain amount of knowledge, a contradiction in a creative situation is experienced as anxiety, which is a "trigger" of the creative process.

The conditions for the development of the creative potential of a person are laid down from childhood, when the formation of the main traits of a person's character and his psychological characteristics is observed, which determine development in the future. Under the influence of living conditions, certain qualities and psychological characteristics are enhanced or weakened, change for the better or worse.

1. Communicative.

2. Axiological.

3. Epistemological.

4. Creative.

5. Artistic potential.

1

The theoretical analysis of works devoted to the problem of the structure of creative abilities is carried out. It is noted that many researchers have identified motivational, personal and cognitive components in the structure of creative abilities. The importance of considering the procedural side of creativity, the nature of which affects the effectiveness of creative activity, is emphasized. In this regard, the components are identified that are directly related to this side of creative activity: the activity-procedural component, including creative independence and the ability to optimize one's behavior (the choice of such a strategy of behavior that will lead to a positive result); a reflective component (the ability for deep reflection, striving for aesthetic enrichment, self-education and self-development). Thus, the structure of the creative abilities of primary schoolchildren has the following components: cognitive-emotional, personal-creative, motivational-value, activity-procedural, reflexive.

creation

creativity

creative skills

structure of creativity

components of creativity

creative abilities of younger students

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2. Bogoyavlenskaya D.B. Psychology of creative abilities / D.B. Epiphany. - M .: Academy, 2002 .-- 320 p.

3. Getmanskaya E.V. Personality: creative characteristics // Bulletin of the Moscow State University for the Humanities. M.A. Sholokhov. Pedagogy and psychology. - 2010. - No. 1. - From 15-20.

4. Goncharova E.V. Development of creativity in senior preschoolers in the process of familiarizing nature // Bulletin of Nizhnevartovsk State University. - 2015. - No. 2. - P. 6-12.

5. Druzhinin V.N. Psychology of general abilities / V.N. Druzhinin. - SPb .: Peter, 2008 .-- 368 p.

6. Ilyin E.P. Psychology of creativity, creativity, giftedness / E.P. Ilyin. - SPb .: Peter, 2009 .-- 434 p.

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8. Kondratyeva NV The essence of the concept of "creative abilities" // Concept. - 2015. - No. 09 (September). - ART 15320. - URL: http://e-koncept.ru/2015/15320.htm. (date of access: 11.09.2015)

9. Kudryavtsev V.T. Paths. Conceptual foundations of the project of developing preschool education / V.T. Kudryavtsev. - M .: Ventana-Graf, 2007 .-- 144 p.

10. Luke A.N. Thinking and creativity / A.N. Onion. - M .: Politizdat, 1976 .-- 144 p.

11. Maksimova S.V. Creativity as a phenomenon of non-adaptive activity // "Development of the creative potential of students in the system of children's additional education." Series "Ecology of Creativity" / ed. N.V. Markina, O.V. Vereshchinskaya. - Chelyabinsk: Parity-Profit, 2002. - No. 2. - P. 42-58.

12. Malakhova I.A. Development of personality creativity in the sociocultural sphere: pedagogical aspect: monograph / I.A. Malakhov. - Minsk: BSU culture and arts, 2006 .-- 327 p.

13. Matyushkin A.M. Development of schoolchildren's creative activity / A.M. Matyushkin. - M .: Pedagogika, 1991 .-- 160 p.

14.Molyako V.A. The concept of creative giftedness // First international scientific Lomonosov readings. - M., 1991. - S. 102-104.

15. Petrovsky V.A. Psychology of maladaptive activity / V.A. Petrovsky. - M .: LLP Gorbunok, 1992 .-- 224 p.

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17. Guilford J.P., Demos G.D., Torrance E.P. Factors That Aid and Hinder Creativity // Creativity Its Educational Implications. John Wiley and Sons, Inc. N.Y., 1967 .-- 336 p.

18. Solso R.L. Cognitive psychology / R.L. Solso / per. from English - M .: Trivola, 1996 .-- 600 p.

19.Kjell L., Ziegler D. Theories of personality. Fundamentals, research and application / L. Hjell, D. Ziegler / trans. from English - SPb .: Publishing house "Peter Press", 1997. - 402 p.

The focus of modern pedagogical science and practice is the problem of educating a free, critically thinking, creative personality. That is why the problem of developing creative abilities has remained relevant for quite a long time. FGOS NOO of the second generation sets before the teacher the task of educating an inquisitive, actively learning and creatively creative student. Understanding the structure of creative abilities is a necessary knowledge for a modern teacher seeking to solve the problem of organizing work on the development of creative abilities in modern educational institutions.

By creative abilities, we mean the synthesis of individual psychophysiological personality traits and new qualitative states (changes in thinking, perception, life experience, motivational sphere) that arise in the process of a new activity for the individual (in the process of solving new problems, tasks), which leads to successful its implementation or the appearance of a subjectively / objectively new product (idea, object, work of art, etc.). Creative abilities are inherent in everyone, they are formed and developed in activity. The product obtained as a result of creative activity bears the imprint of individual personality traits. The quality of the product (its elaboration, completeness, expressiveness, degree of originality) depends on the characteristics of the processes of thinking, perception and the motivational component (interest in the business, the need for creative self-expression) of the individual. But what is the structure of creativity?

By the structure of creative abilities, we mean the sum of components (a number of particular abilities) that make up the unity of psychological and personal elements that lead to the successful performance of an activity or the emergence of a subjective / objective new one.

To highlight the structural components of creative abilities for our research, we turned to the analysis of scientific literature, the results of research on this topic.

In the works of foreign researchers, there is no such thing as “creativity”. There is the concept of "creativity", which is defined in different ways, depending on the approach: 1) as a component of general mental giftedness; 2) as a universal cognitive ability; 3) as a stable personality trait. Representatives of the cognitive approach (F. Galton, G. Eysenck, L. Termen, R. Sternberg, E. Torrance, L. Cropley, and others) do not distinguish creativity as an independent specific form of mental activity. From their point of view, creativity is a way of using intelligence, characterized by flexible and versatile information processing. According to R. Sternberg, the structure of creativity consists of “three special intellectual abilities: 1) synthetic - to see problems in a new light and avoid the usual way of thinking; 2) analytical - to assess whether the ideas are worth further development; 3) practical-contextual - to convince others of the value of the idea. "

Other researchers (L. Thurstone, J. Guilford and others) adhere to a different point of view - creativity as an independent process. J. Guilford defined creativity as a "universal cognitive creative ability", which is based on divergent thinking (focused on the search for several options for solving a problem). They were allocated the following intellectual abilities that are part of the structure of creativity. Among them: fluency of thought (the ability to generate a large number of ideas); flexibility of thought (the ability to use different solution strategies); originality (the ability to avoid obvious, banal answers); curiosity (sensitivity to problems); elaboration (the ability to detail ideas).

Further research in the field of creativity was developed on the basis of a personal approach - creativity began to be understood as a personality trait. Here, the researchers assigned a large role to the emotional and motivational spheres. They (S. Springer, G. Deutsch, J. Godfroy, L.S. Kyubi, F. Barron) identified the following personality traits inherent in people who are successful in creativity: non-recognition of social restrictions, sensitivity, pronounced aesthetic principle, duality of nature , arrogance, self-confidence, independence, eccentricity, aggressiveness, complacency, independence of judgment, vulnerability, inconsistency, curiosity, sharp mind, openness to new things, preference for complexity, high dedication to the task, great strength of mind, resistance to environmental disturbances, to various kinds conflicts, a sense of humor. As for the motivational sphere, there are two points of view. Creative people are characterized by: 1) a tendency to self-expression, to achieve “matching their capabilities”; 2) a tendency to take risks, a desire to achieve and test their ultimate capabilities. Other motives also stand out: for example, playful, instrumental, expressive, internal. Researchers (M. Vasadur, P. Hausdorff and others) pay great attention to the latter. The result of any activity, and even more so of creative activity, depends on the inner position of the individual, its orientation, value orientations.

The problem of creativity, the structure of creative abilities was further developed in our country. A new direction has emerged - the psychology of creativity. Creativity is understood as a specific ability that is not limited only to intelligence. However, in many studies, the structure of creative abilities is based on their cognitive side - the so-called creative thinking (thinking aimed at a fundamentally new solution to a problem situation, leading to new ideas and discoveries). Thus, A. N. Luk, based on the research of J. Guilford, expanded the number of indicators of creativity, including in them, in addition to the cognitive component, the characteristics of perception, temperament and motivation.

S. Mednik considers creativity as an associative process. Creativity in his understanding is a synthesis of developed convergent thinking and divergent thinking. That is why the author distinguishes the following units in the structure of creative abilities: the ability to quickly generate hypotheses; associative fluency; finding similarities between individual elements (ideas); mediation of some ideas by others; intuitive sagacity. Ya. A. Ponomarev also emphasizes the importance of intuition and notes it as one of the important components of creativity.

Further study of creative abilities led to the reflection and consolidation in the structure of creative abilities of personal and behavioral aspects (cognitive-affective component).

E. Tunik identifies the following structural components of creative abilities: curiosity; imagination; complexity and risk appetite.

AM Matyushkin, who studied creative talent, substantiated the following synthetic structure: a high level of cognitive motivation; high level of creative research activity; flexibility of thinking; fluency of thinking; ability to predict and anticipate; the ability to create ideal standards that provide high aesthetic, moral, intellectual assessments.

VA Molyako singled out the components of the creative potential, including in them: the inclinations and inclinations of the individual; the strength of the manifestation of intelligence; features of temperament; character traits; interests and motivation; intuitionism; features of the organization of their activities.

In the research of D. B. Bogoyavlenskaya, the cognitive and affective subsystems of the personality find their way out in the so-called "intellectual activity" - unstimulated productive activity, cognitive self-activity. Intellectual activity - "the ability to develop activities at the initiative of the subject himself." This activity is the force that drives the creative process. The structure of creative abilities looks like "as the relationship between the" whole "(intellectual activity) and the" part "(general mental abilities, motives)". We emphasize the main thing in this approach - creativity is seen as the activity of the individual, which consists in the possibility of going beyond the given.

VN Druzhinin sees the structure of creative abilities as follows: intellect; learnability; creativity (transformation of knowledge). He emphasizes the importance of individual personality traits, which lead to the dominance of either oversituational (creative) or adaptive (non-creative) activity, which allows people to be divided into more and less creative.

The very concept of oversituational activity was introduced by V.A.Petrovsky. This is going beyond the given, external conditions and own needs; it is a desire for self-actualization and creation; it is the choice of the unknown; setting redundant, from the point of view of the original problem, goals. Creativity is a form of oversituational activity.

V.A.Petrovsky's views were developed in the works of S.V. Maksimova, who developed the concept of duality of non-adaptive and adaptive manifestations in creativity. According to this concept, the creative process is made up of non-adaptive activity, generating new ideas, goals, etc. and the adaptive activity required for their implementation.

The tendency to consider the structure of creative abilities in the unity of cognitive and personality variables now remains relevant.

IA Malakhova offers the following structure of creative abilities: thinking (convergent, divergent); qualitative indicators of mental activity (breadth of categorization, fluency, flexibility, originality); imagination; creative well-being; intellectual initiative (creative activity, sensitivity to the problem).

VT Kudryavtsev, considering the structure of creative potential, pointed to imagination and initiative.

EV Getmanskaya identifies three interrelated structural components: cognitive motivation; creative thinking; creative personality traits.

T. A. Barysheva, along with motivation and divergence, includes an aesthetic component (form-creation, perfectionism) in the structure of creative abilities.

E.V. Goncharova included imagination and emotional development in the cognitive and creative component, verbal intelligence, creative thinking, cognitive activity in the cognitive and intellectual component, and creative perception and creative product in the creative one.

Younger school age is considered by us as the most successful period for the development of creative abilities. Because it is at this age that, while maintaining childish spontaneity, curiosity, impressionability and desire for knowledge, all cognitive processes, imagination, motivational sphere, and individuality develop. The child is looking for himself in learning activities, communication, he is open to new experience and believes in himself.

There are few works on the problem of the structure of creative abilities of primary schoolchildren.

L. G. Karpova substantiated the existence of cognitive, emotional and motivational components in the structure of the creative abilities of primary schoolchildren.

EP Shulga has emotional and activity components. Motivation and personality traits are combined by the researcher into a motivational and personal component. Creativity, creative thinking and imagination are included in cognitive-creative. Here we observe in the structure all those components that have already been encountered in the works of various researchers presented by us above.

From the point of view of G.V. Terekhova, the development of creative abilities is the result of teaching creative activity to younger students. Therefore, the researcher identifies the following components in the structure of creative abilities: creative thinking, creative imagination, application of methods for organizing creative activity.

So, there is no consensus in the scientific literature on the structure of creativity. However, motivational, personality and cognitive components are reflected in many works on this issue. Many researchers limit themselves to these components. We note the insufficient attention of researchers to the procedural side of creative activity (analysis of the problem, search for contradictions, development of a solution, justification, etc.), and, as a consequence, the absence in the structure of creative abilities of the components responsible for the effectiveness of the creative process. That is why we distinguish the activity-procedural component, which includes creative independence and the ability to optimize one's behavior (the choice of a strategy of behavior that will lead to a positive result). The development of creative abilities is impossible without deep reflection, striving for aesthetic enrichment, self-education and self-development. Therefore, we have identified another independent component - the reflexive one.

The structure of the creative abilities of primary schoolchildren in our understanding is as follows:

1) cognitive-emotional component (divergent thinking, features of temperament, expressiveness, emotional sensitivity);

2) personal-creative component (creativity, imagination, criticality, independence, inclination to take risks, intellectual activity);

3) motivational-value component (the need for creative activity, socially significant motives of activity, recognition of the value of creativity);

4) an activity-procedural component (creative independence, the ability to optimize one's behavior);

5) a reflexive component (self-assessment of creative activity, the desire of the individual for self-education, self-development).

The components highlighted by us indicate the directions of the teacher's activity in diagnosing and developing the creative abilities of students and can be reflected in methodological developments.

Reviewers:

Kharitonov M.G., Doctor of Pedagogical Sciences, Professor, Dean of the Psychological and Pedagogical Faculty of FSBEI HPE "ChGPU im. AND I. Yakovleva ", Cheboksary;

Kuznetsova L.V., Doctor of Pedagogical Sciences, Professor, Director of the Scientific Research Institute of Ethnopedagogy named after Academician G.N. Volkova FSBEI HPE "ChSPU im. AND I. Yakovleva ", Cheboksary.

Bibliographic reference

Kondratyeva N.V., Kovalev V.P. STRUCTURE OF CREATIVE ABILITIES OF YOUNGER SCHOOLS // Modern problems of science and education. - 2015. - No. 5 .;
URL: http://science-education.ru/ru/article/view?id\u003d21736 (date accessed: 01/05/2020). We bring to your attention the journals published by the "Academy of Natural Sciences"

In these conditions, the task of forming and developing the creative potential of the organization becomes very urgent. Human potential plays a primary role in building the creative potential of an organization. The professional knowledge of the organization's employees is primarily determined by the level and quality of education. An increase in 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., Doctor of Economics Blinov Andrey Olegovich, VZFEI, Moscow

associate Professor, Ph.D. Olga Rudakova, VZFEI, Moscow

DIAGNOSTICS OF THE CREATIVE POTENTIAL OF ORGANIZATIONS

The economies of countries with developed market economies are economies with pronounced innovative features. A necessary factor in innovative development is a creative approach to managing organizations. The key element of effective production is a person who is creative, creatively thinking, and seeker. Up to 40% of GDP in developed countries is created by creative workers. In these conditions, the task of forming and developing the creative potential of the organization becomes very urgent. Harnessing the capabilities embodied in people allows organizations to accelerate innovation, improve the quality and competitiveness of products and services.

The creative potential of personnel can be defined as the ability and determination to overcome obstacles, to solve assigned tasks. At the same time, 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, etc. In the second case, knowledge may not play a decisive role, and then the process of using creative potential becomes intuitive, goes through trial and error.

Human potential plays a primary role in building 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 organization's employees is determined, first of all, by the level and quality of education. An increase in 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 career in the organization is of particular importance. Up to 20-30% of the working time is allocated for 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 the human assets and creativity of the organization.

However, to implement the existing and acquired knowledge, experience, skills in solving professional problems, tasks that arise in the innovative activity of the organization are required. First of all, creative skills are required. Quite often, some specialists have experience and skills that are inherent only 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, the intuitive choice of the direction of research, methods of solving problems.

Opportunities for successful acquisition of knowledge and acquisition of 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 amount of collective knowledge and skills are such abilities of employees as:

• learning ability, receptivity to new knowledge, thirst for new knowledge;
• a penchant for critical thinking;
• the ability to abstract, simulate a situation, mastering information technology;
• efficiency, persistence in achieving the set goal, in solving problems;
• efficiency, organization, creative streak.

Professional inclinations, a creative approach to work and the professional qualifications of employees play an important role in building up human assets in the life of an organization. At the same time, it is essential that these characteristics correspond to the place occupied by the employee in the team, the correspondence of the employee's qualities to the tasks assigned to him.

If knowledge and experience can be acquired and augmented by an employee of the organization in the course of 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 develop, but cannot be acquired as an element of training or education.

Creativity is associated with the practical activity of a person and is evaluated depending on how it influences this activity. The creative potential of personnel, their social role, that is, human actions from goal to result, can be understood and evaluated only on the basis of the general organization system of the enterprise. The realization of the creative potential of each employee is inside the person and is carried out through the self-realization of the personality. 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 able to be responsible not only for the goals, but also for the results of the organization's activities, knowledge is needed of how to use the creative potential of the personnel, how to evaluate it. To assess the creative potential of personnel, it is necessary to activate it, that is, it is necessary to create conditions for its implementation within the organization.

When solving a specific 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 thousand dollars invested in education bring in a profit of 1 million dollars.

There are many research methods for enhancing the creative potential of the organization's personnel. The most common of them are often called the following:

• “Brainstorming” and its varieties: individual, written, direct and mass types, as well as a double method, a method with an idea assessment, a reverse method, a “ship council” method, a “conference of ideas” method;
• method of focal objects;
• morphological analysis;
• trainings;
• coaching.

The potential for creative activity of a 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 promotes 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 integral to the creativity 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 rapid development of an innovative economy, continuous improvement of production, constant renewal of manufactured goods and services, know-how is of particular importance, ensuring success in the competition and expanding market niches in the organization, all this increases the creative potential of the organization.

Harnessing the creative potential of staff requires the joining of efforts of many people, so the formation of various communities of creative professionals in an organization is becoming increasingly important. Innovation groups that form within organizations are known by various names: business communities, communities of interest, creative teams, innovation teams, thematic groups, best practice teams, etc.

According to the purpose of communities, four types are distinguished:

1. to help solve everyday problems;
2. to develop and disseminate best practices, guidelines and procedures that can be used by community members;
3. to manage and manage the knowledge and creativity that community members can use;
4. to innovate and create disruptive ideas, knowledge and practical experience.

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

A team is usually created to harness the creativity of staff to tackle complex challenges (such as critical projects), perform special functions, and facilitate creativity. A team is a type of collective and is usually a small group of individuals with diverse knowledge, skills and creativity.

Team members must have:

• willingness to understand and accept common goals, cooperate, perceive the opinions of others, trust each other;
• the ability to identify and solve problems;
• a propensity to learn and self-study, to exchange information;
• sociability, openness;
• high level of specialized knowledge;
• striving to achieve the best results;
• responsibility.

The team is characterized by:

• often inconsistent composition and leaders, which can change depending on the nature of the problem being solved. This does not fully extend to the top management of firms, who today also often act as a team;
• the full responsibility of the leader, as the most competent member of the team in the relevant issues, for the assigned direction and entrusting the official leader with the functions of the organizer and coordinator of all work;
• significant intellectual, creative potential and status of the participants;
• high psychological and socio-psychological compatibility, cohesion, close mutual understanding, culture of joint activities;
• a clear definition of the powers of each;
• making major decisions jointly after extensive discussion, and the person responsible for the relevant direction has a casting vote.

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

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

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

The climate of the research laboratory within which the team operates is a factor in determining the creativity as well as the effectiveness of the organization. The unit's healthy climate is characterized by trust, openness, and a spirit of friendly competition. Secrecy, mistrust, ambiguity in asking questions - these are the symptoms of an ineffective organization, the functioning of which is unlikely to be purposeful and can contribute to the development of creative potential.

Coaching is increasingly being used to develop the creativity of these teams. Coaching is a model of interaction, thanks to which a top manager increases the level of motivation and responsibility of both himself and his staff.

An organization that implements top management coaching has a number of competitive advantages. Its top managers are confident in their abilities and work with more interest and higher returns. In essence, management coaching is an explanation, decision-making assistance, a special tool for improving the client's performance. 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 respond quickly and effectively in critical situations, and successfully solve emerging problems.

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

The difficulty of managing the creative potential of personnel through teamwork can be due to the lack of a culture of joint activity, individualism, striving for leadership, personal results, and impatience. This requires each participant to understand the general situation. Therefore, the free exchange of information plays an important role here, the volume, completeness and accuracy of which far exceed those needed for operational management.

It should be noted that at present the systems, models and processes for managing the creative potential of the personnel of modern organizations should be diverse and depend on the strategic goals, existing knowledge, abilities and skills of the personnel. The analysis of the existing practice allows us to single out the main processes that are present in any model in the activity of managing the creative potential of personnel. These are the following processes:

• formation;
• using;
• development.

The auxiliary processes include those processes that, to one degree or another, are included in all the main processes, permeate them, ensure their course:

• accumulation;
• spread;
• protection;
• assessment;
• control.

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

Personnel creativity management processes can be designed as separate business processes, or they can be integrated as parts of the main business processes of the organization. They are related to strategy, change management and people management as human capital, which 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 in one way or another, participation in teams acts as a link between the implementation of organizational strategy and individual changes.

It should be emphasized the importance of teams as initiators of changes, improvements, and, accordingly, agents of strategy. 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 can directly influence the efficiency of the organization.

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

In our opinion, there are two possible ways of developing the creative potential of the organization's activities:

• in the absence of an innovative and creative idea, a search is made for opportunities to use the results of innovative and creative activities of other organizations;
• in the presence of 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 competitive products into 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 an organization are innovative events, that is, events that use new, more advanced and effective principles for achieving results. Creativity is not determined by the absolute novelty of an event; the event itself may be well-known and used in other industries or services. In a specific process that 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 held 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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Course work

"Methods for diagnosing creativity"

Introduction

Creation is considered as a form of human activity that performs a transforming function, and as the basis of the internal mechanism of all cognitive processes - perception, attention, memory, thinking, imagination.

The role of imagination in the creative process can hardly be overestimated. Creativity is closely related to all mental processes, including imagination. The degree of development of imagination and its ability are no less important for creativity than, say, the degree of development of thinking.

The psychology of creativity manifests itself in all its specific forms: inventive, scientific, literary, artistic, etc. What factors determine the possibility of a particular person's creativity? The possibility of creativity is largely provided by the knowledge available to a person, which is supported by the corresponding abilities, and is stimulated by the purposefulness of a person. The most important conditions for creativity is the presence of certain experiences that create the emotional tone of creative activity.

The problem of creativity has always been interesting not only for psychologists. The question of what allows one person to create, and deprives another of this opportunity, worried the minds of famous scientists. For a long time, the dominant view was the impossibility of algorithmization and teaching the creative process, which was substantiated by the famous French psychologist T. Ribot. He wrote: “As for the 'methods of invention', about which many scholarly discourses have been written, they do not really exist, since otherwise it would be possible to fabricate inventors in the same way as mechanics and watchmakers are fabricated now. ". Gradually, however, this point of view began to be questioned. The first place was taken by the hypothesis that the ability to create can be developed.

Thus, the English scientist G. Wallace made an attempt to investigate the creative process. As a result, he was able to identify four stages of the creative process:

.Preparation (idea birth).

.Maturation (concentration, “pulling together” of knowledge directly and indirectly related to this problem, obtaining missing information).

.Illumination (intuitive grasp of the desired result).

.Checking.

The result of creativity is a creative product that is distinguished by novelty, originality and uniqueness. Creativity is going beyond the limits of the given, it also manifests the activity of unconscious mental processes. Creativity manifests itself in a potential (creative potential) or in an actual (creative activity) form.

The creative potential of an intellectually gifted person characterizes his personality as a whole and is a system of cognitive and non-cognitive components, represented by intellectual (originality, flexibility, adaptability, fluency and efficiency of thinking; ease of associations; level of creative imagination), and personal (motivational, emotional, volitional, reflexive and value-semantic) characteristics in their interaction.

Management of creativity is possible by creating favorable conditions for this:

· content of creative activity;

· creation of a creative environment;

· the orientation of formative work on the development of a creative personality.

A person's ability to be creative is manifested in the process of his life, while any of the types of activity can be carried out by an individual, both at the reproductive and at the creative level. The degree of manifestation of creativity is determined, on the one hand, by the creative potential of the person himself, and on the other, by the level of his activity in the development and realization of his own creative potential. Consequently, stimulating activity in the development of one's creative potential can act as an independent pedagogical task in the process of educating a creative personality. The higher the readiness of an individual to develop his own creative potential, the more efficiently this process proceeds and the more independent a person becomes as a subject of his own development.

To comprehend the sources of creativity and its psychological mechanisms, it is necessary to consider creativity as a kind of integral process, which cannot be done without relying on the understanding of a person's personality as a single and systemic formation. Since creativity is a phenomenon of an integral personality. The problem of a holistic and systemic understanding of a person's personality is traditional for psychology 3. Freud, K. Jung, A. Adler, K. Levin, G. Allport, A. Maslow, K. Rogers, L.S. Vygotsky, S.L. Rubinstein, A.N. Leontiev, B.P. Parygin, K.K. Platonov and; etc.). Each of the directions has its own advantages, disadvantages and varying degrees of development.

Purpose of the study:

Studying the theoretical foundations of creativity and creative potential, as well as assessing the level of its development in the subjects during testing.

Subject of study:

Creative potential.

Object of study:

Human creativity.

Research objectives:

1.To study the theoretical foundations of creativity, creative potential and methods for diagnosing the creative potential of an adult with the help of psychological literature.

2.Assess the level of development of creative potential in the subjects by testing.

The relevance of research:

The study of creative potential has scientific and practical relevance due to the fact that it is the individual originality and creative initiative of each person, implemented by him in his personal, professional and public spheres, that are an essential resource for the development of society.

A large number of changes taking place in the life of our society urgently requires a person to be ready to effectively use their capabilities in new conditions of their development. But a person is not always ready for the changes taking place in society. In order to adequately respond to them, he must activate his creative potential, develop in himself such a quality as creativity (creativity).

It is important to evaluate the creative potential of each person in order to help him and give him the opportunity to develop in the future in the right direction.

Hypothesis:

It is believed that for the development of creative potential, the level of mental development should be slightly above average. Nevertheless, upon reaching the required level of intellectuality, its further increase in no way affects the development of creative abilities.

Techniques used:

1.Methodology for researching creativity. (Fetiskin N.P., Kozlov V.V., Manuilov G.M.Social and psychological diagnostics of the development of personality and small groups. - M., Publishing house of the Institute of Psychotherapy. 2002. - 490 p.).

2.Self-assessment of the creative potential of a person (Fetiskin N.P., Kozlov V.V., Manuilov G.M.Social and psychological diagnostics of the development of personality and small groups. - M., Publishing house of the Institute of Psychotherapy. 2002. - 490 p.).

3."Culturally independent test of intelligence" R. Cattell (R. Rimskaya, S. Rimsky. Practical psychology in tests, or how to learn to understand oneself and others. - M .: AST-PRESS KNIGA. 1997. - 400 p., 4 p. Ill. - (practical psychology)).

1. Theoretical analysis of creativity, creativity and its development

1.1 Creativity

Creation - a process of human activity that creates qualitatively new material and spiritual values \u200b\u200bor the result of creating a subjectively new one. The main criterion that distinguishes creativity from manufacturing (production) is the uniqueness of its result. The result of creativity cannot be directly deduced from the initial conditions. Nobody, except perhaps the author, can get exactly the same result if you create the same initial situation for him. Thus, in the process of creativity, the author puts into the material some possibilities that are not reducible to labor operations or a logical conclusion, and in the end result expresses some aspects of his personality. It is this fact that gives the products of creativity additional value in comparison with the products of production.

Creativity is an activity that generates something qualitatively new that has never existed before. Creativity is the creation of something new, valuable not only for a given person, but also for others. Creativity is the process of creating subjective values.

Creativity as a process (creative thinking)

Many of the researchers reduce the problem of human abilities to a problem-creating personality: there are no special creative abilities, but there is a person with a certain motivation and traits. Indeed, if intellectual giftedness does not directly affect a person's creative success, if in the course of the development of creativity the formation of a certain motivation and personality traits precedes creative manifestations, then we can conclude that there is a special type of personality - “Creative person”.

One of the first researchers of creative thinking was the psychologist M. Wertheimer. According to Wertheimer, the process of solving problems as a result of simple recall and mechanical repetition is not intelligent thinking. He links creative thinking to two factors: adaptability and structure.

Adaptability means that creative processes are aimed at improving the situation.

Structurality is such creative thinking when, in the process of solving a problem situation, it is analyzed, followed by a change in the functional meanings of individual elements of the situation within the framework of an integral structure.

Wertheimer was the first to draw attention to the fact that tasks that stimulate creative thinking should not be typical, unusual for a person. A person who solves a creative problem must look at the situation in a new way, trying to use the hidden properties of objects and their unusual connections.

This view of human creative thinking has given rise to the possibility of diagnosing and testing the ability to create. Psychologists who experimentally study creative thinking include J. Guilford, E. Torrance, D.B. Bogoyavlenskaya, Ya.A. Ponomarev, R. Stenberg and others.

The main factor in the presence of "creativity" is considered to be lightness, flexibility, originality and accuracy of thinking. Torrance derived 12 factors of the "material" of creative thinking, which, in turn, were divided into 3 groups: verbal, inventive and verbal - sound. The subject is required to show the ability to think creatively. So, if the answer given by a person is very often repeated - this is a typical answer, if rarely - an original one.

Any mentally normal person can be taught to think creatively. For this, it is necessary to develop the appropriate abilities involved in the process of creative thinking, and to overcome the internal barriers to creativity.

Stages of creative thinking

G. Wallace

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

1.Preparation - task formulation; attempts to solve it.

2.Incubation is a temporary distraction from the task.

.Illumination is the emergence of an intuitive solution.

.Verification - testing and / or implementing a solution.

However, this description is not original and goes back to the classic report by A. Poincare 1908.

A. Poincaré

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

1. First, a problem is posed and attempts are made to solve it for some time.

“For two weeks I have been trying to prove that there can be no function analogous to what I later called automorphic. I was, however, completely wrong; every day I sat at my desk, spent an hour or two at it, exploring a large number of combinations, and did not come to any result. "

This is followed by a more or less prolonged period, during which the person does not think about the still unresolved problem, is distracted from it. At this time, Poincare believes, there is an unconscious work on the problem.

And finally, there comes a moment when suddenly, without thinking about the problem immediately preceding it, 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 could not sleep; ideas crowded together, I felt them collide until two of them came together to form a stable combination. "

In contrast to the usual messages of this kind, Poincaré describes here not only the moment the decision appears in the mind, but also the seemingly visible work of the unconscious that immediately preceded it. Jacques Hadamard, drawing attention to this description, points to its complete exclusivity: "I have never experienced this wonderful feeling and I have never heard anyone but him [Poincaré] feel it."

After that, when the key idea for the solution is already known, the solution is completed, verified, and developed.

In theorizing, Poincaré depicts the creative process (using the example of mathematical creativity) as a sequence of two stages: 1) the combination of particles - the elements of knowledge and 2) the subsequent selection of useful combinations.

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

The initial conscious work on the task actualizes, "sets in motion" those elements of future combinations that are related to the task being solved. Then, if, of course, the problem is not solved immediately, a period of unconscious work on the problem begins. While the consciousness is busy with completely different things, in the subconscious the particles that received the impetus continue their dance, colliding and forming various combinations. Which of these combinations enter consciousness? These are combinations "the most beautiful, that is, those that most affect this special sense of mathematical beauty, known to all mathematicians and inaccessible to laymen to such an extent that they often tend to laugh at it." So, the most "mathematically beautiful" combinations are selected and penetrate into the 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 encompass them without effort, guessing the details. This harmony serves both the satisfaction of our aesthetic feelings and help for the mind, it supports it and it is guided by it. This harmony enables us to anticipate the mathematical law. " "So this special aesthetic feeling plays the role of a sieve, and this explains why one who is deprived of it will never become a real inventor."

Factors hindering creative thinking:

Uncritical acceptance of someone else's opinion (conformism, compromise)

external and internal censorship

rigidity (including the transmission of templates, 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 the personality (or the inner world of a person) and reality. At the same time, changes occur not only in reality, but also in the personality.

The nature of the connection between creativity and personality

“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. Rubinstein, making changes in the world around, a person changes himself. Thus, a person changes himself by performing creative activity.

B.G. Ananyev believes that creativity is a process of objectification of 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 writes: Personality is not a substance, but a creative act.

Motivation for creativity

V.N. Druzhinin writes:

Creativity is based on the global irrational motivation of human alienation from the world; it is directed by a tendency to overcome, 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's connection with the world is realized. Creativity itself is stimulated.

1.2 Creativity and its development

Creative potential (eng. Creative potential) - a set of human qualities that determine the possibility and boundaries of his participation in labor activities.

Creativity is a complex, integral concept that includes natural-genetic, social-personal and logical components, in aggregate, representing knowledge, skills, abilities and aspirations of an individual to transform (improve) the world around him in various fields of activity within the framework of universal norms of morality and ethics.

Many authors associate the creative potential of a person with such personal traits as courage, self-confidence, freedom, self-recognition. F. Barron and D. Harrington add to this list independence of judgment, the ability to find attractiveness in difficulties, aesthetic orientation and the ability to take risks. M. Kshikzhentmikhaly, describing a creative person, notes that her cognitive abilities, personality traits, and features of the motivational sphere are always involved in the creative process.

The structure of creativity

Creativity includes components:

motivational target;

operational and activity;

reflectively - evaluative components.

The motivational - target component reflects a personal attitude towards activities, expressed in target attitudes, interests, motives. It assumes that students have an interest in a certain type of activity; striving to acquire general and special knowledge, abilities and skills. It is represented by external motivation, which provides interest in the subject, and internal motivation, which is more significant for creative activity, these are:

performance motivation, when the student is focused on performance;

process motivation, when the student is interested in the very process of activity.

The operational - activity component is based on a set of skills and abilities of organizing creative activity. It includes methods of mental actions and mental logical operations, as well as forms of practical activity: general labor, technical, special. This component reflects the ability of students to create something new and is aimed at self-determination and self-expression in individual creative activity.

The reflexive-evaluative component includes: internal processes of comprehension and introspection, self-assessment of one's own creative activity and its results; assessment of the ratio of their capabilities and the level of aspirations in creativity.

It is believed that almost all children, with rare exceptions, are naturally capable of freely perceiving creative energy. Almost all children are naturally endowed with a rich imagination, the ability to think creatively and generate unusual ideas. Over time, under the influence of adults, these abilities fade. But somewhere in the depths of the soul of each of us there is a small child and his unfulfilled fantasies and dreams.

Accordingly, if you want to develop your creative abilities, your dormant potential, you can try to release and realize the potential that was left unclaimed in childhood.

What is blocking our natural ability to be creative? When, at what point did we lose her?

As a child, many children loved to compose small quatrains, counting rhymes, etc. Imagine that you easily managed to write a small story, and you decided to show it to your parents. In turn, the parents laughed at the child's naive composition, and did not express any delight. Thus, your creativity remained invaluable and unclaimed, and that's why it died out.

You can also imagine that, being in the lower grades of school, you wrote a poem about a classmate and let it go throughout the class. The poem successfully "reached" the teacher, the teacher showed the poem to your parents, and your parents, in turn, scolded you for poetry.

Since the subconscious mind of a person thinks in associations - “if you were scolded for poetry, then it’s bad to write poetry,” after that you don’t want to write poetry, it will be difficult for you to read the poetry of another author.

So what are the most common factors that block our creativity? This can be inattention, criticism and ridicule of others. It may be our own shyness, the fear of appearing ridiculous, the fear of revealing ourselves to others. It may be the opinion of those around them that children's creativity is something frivolous, unworthy of attention and useless in real life.

Of course, each person has his own story of "the death of a genius within himself" and how many people, so many different individual reasons for the loss of creative potential. And if you decide to resurrect the talent that was originally given to you, there are many practical ways for this.

.3 Creativity

An indicator of creative development is creativity.

Creativity (from English create - to 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 thinking 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 inherent in everyone, but is 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. More broadly, a non-trivial and ingenious solution to the problem. Moreover, as a rule, with scarce and non-specialized tools or resources, if the need is material. And to a bold, non-standard, what is called a non-stamped approach to solving a problem or meeting a need in an intangible plane.

Psychological creativity

According to Alice Paul Torrance, creativity includes an increased sensitivity to problems, to a lack or inconsistency of knowledge, actions to identify these problems, to search for their solutions based on hypotheses, to test and change hypotheses, to formulate the result of a solution. To assess creativity, various tests of divergent thinking, personality questionnaires, and performance analysis are used. Learning situations that are incomplete or open to integrate new elements can be used to promote creative thinking, while students are encouraged to ask multiple questions.

Expert and experimental assessments of a person's ability to produce knowledge show that a person's creative abilities are not very great. By involving all employees in the continuous improvement of the organization (Kaizen Method), the creativity of the organization increases dramatically.

Hypotheses of the origin of creativity

There are several hypotheses for the emergence of creativity. According to the first, it is believed that creative abilities arose in Homo sapiens gradually, over a long time and were the result of cultural and demographic changes in mankind, in particular, an increase in the population, by adding the abilities of the most intelligent and gifted individuals in populations, with the subsequent consolidation of these properties in offspring.

The second hypothesis, put forward in 2002 by anthropologist Richard Kline of Stanford University, was that the emergence of creativity was spasmodic. It arose as a result of a sudden genetic mutation about 50 thousand years ago.

1.4 Methods for diagnosing creativity

The problem is the diagnosis of creativity, a problem that psychologists themselves cannot figure out. Verification and testing of other people's creativity turned out to be an internally very contradictory task. Creativity tests are designed to induce a person to invent new, diverse, original solutions. For example, you need to come up with as many ways as possible to use the most ordinary object in an unusual way (pencil, brick, etc.), come up with as many improvements of a toy as possible, draw as many pictures as possible with a given initial element, etc. These are tasks for the so-called divergent thinking - for the ability to develop mental activity in many different ways, which is an essential part of creative abilities. The total number of answers and their diversity are estimated. The originality of each answer is also assessed. It is calculated mechanically: how often there are responses to a previously surveyed group of people. There is a standard list of answers of varying degrees of originality; these lists may differ in different cultures, professional groups, etc.

The scores calculated in this way are used to calculate the total creativity score. Everything seems to be very simple and logical. However, the paradox is that the problem of the creativity test will never get a final solution, and any intermediate will quickly devalue.

For the development of creative potential, it is necessary to turn a person to his emotional states, carrying out a purposeful transformation of the intellectual problems facing him into emotional ones. This principle of transforming cognitive content into emotional content acts as the main principle for the development of creative potential.

The mechanism for developing creativity through emotions is universal; it works for all ages.

.5 Methods for developing creativity and solving creative problems

Scientists divide methods of development of creative abilities into two groups. The methods of the first group (brainstorming, synectics, MFO, control questions) are based on common mechanisms - associative thinking and a deliberately random nature of the search. They are easy to use, but not related to the essence of the application objects.

Methods of the second group (ARIZ, functional value analysis), on the contrary, are more difficult to use, but they are well connected with the essence of the objects of application.

The simplest method - the "trial and error" method, researchers have used and are using this method in solving a wide variety of problems. The main purpose of teaching this method is to help students understand that random search methods have become obsolete. The essence of this method lies in the fact that the inventor, when searching for a solution to a problem, goes through all possible solutions and finds the most suitable one. The disadvantage of this method is that it is impossible to develop even an approximate methodology for its use. Therefore, the trial and error method is laborious, and its use does not guarantee a successful solution to the problem.

The next step in improving the trial and error method was the test question methods. For example, a list of A.F. Osborne (although there are still the methods of T. Eiloart and Hefele).

2. Experimental study

.1 Techniques for researching creativity

The study of the level of creativity involved 15 people. Among them were 7 girls and 8 boys in the age category from 18 to 23 years old. All tested students and they all work in different fields. Among them are secretaries, managers, cooks, accountants, etc.

All test subjects have hobbies. Someone is fond of music, writes poems, songs, rap, someone is professionally involved in football and is fond of photography, and someone is engaged in dancing.

.2 Methodology for researching the level of creativity

creativity creativity potential personality

Goal:The technique allows you to determine the self-assessment of personal qualities or the frequency of their manifestation, which characterize the level of development of the creative potential of the individual.

Procedure:The experimenter reads out the instructions, answers the questions and suggests starting testing. After the end of the test, the experimenter collects the answer forms and checks the availability of answers to all points of the test.

Instructions: On a 9-point scale, rate each of the 18 statements. Mark the selected grade on the answer sheet.

Processing and interpretation of results

Based on the total number of points scored, determine the level of your creativity.

The amount of points The level of creativity of the individual18-39 Very low 40-54 Low 55-69 Below average 70-84 Slightly below average 85-99 Average 100-114 Slightly above average 115-129 Above average 130-142 High level 143-162 Very high level

1. Self-assessment of the creative potential of the individual

Goal:The technique allows you to determine the creative potential of the subject.

Procedure: The experimenter reads the instructions, answers the questions, and suggests starting testing. After the end of testing, the experimenter collects the forms, checking the availability of answers to all points of the test.

Instructions:Choose one of the suggested behaviors in these situations and write it down on the answer sheet.

Processing of results and interpretation

Calculate the points: for the answer "a" - 3 points, for "b" - 1, "c" - 2 points.

49 or more points. You have a lot of creativity that gives you a wealth of creative options. If you can actually use your abilities, then a wide variety of forms of creativity are available to you. You are in luck, as you already know what your talent is and where you can show your abilities. But you have a difficult task - to preserve and develop what you have. Therefore, constantly improve your memory, acquire new knowledge, create and invent new things.

From 24 to 48 points.You have quite normal creativity. You have the qualities that allow you to create, but you also have problems that hinder the creative process. In any case, your potential will allow you to prove yourself, if you, of course, wish it. If you want, you will achieve success, only for this you need to understand yourself deeper, to understand what attracts you most, to find the field of activity in which you can maximize your talent. Ask yourself the question more often: "Is this my business?"

23 or less points. Alas, your creativity is not great. But maybe you just underestimated yourself, your abilities? Lack of faith in yourself can lead you to believe that you are not capable of creativity at all. Get rid of it and thus solve the problem. You need to believe in your strength and knowledge, in your abilities and talent. Believe me, there are no untalented people in the world. Each person has the makings of talent, it only needs to be discovered. In order for this to happen, look for your talent, start different things, try yourself in different fields of activity. And you will definitely find your talent, your place, Yourself.

Explanations for the test:

A group of numbered questions 1,2,13,14 , determines the level of your curiosity;

11 and 18 - stability;

16 - ambition;

3 and 17 - auditory memory;

8 - visual memory;

6 - your desire for independence;

9 and 15 - the ability to abstract;

4 - the ability to focus on one thing.

Creativity is built from these abilities. The higher the indicators in a certain group, the more developed the named ability.

2. Culturally free intelligence test by R. Cattell

Goal:The test is designed to determine the level of intellectual development of persons unfamiliar even with the alphabet - regardless of the influence of factors such as cultural level, education, etc.

Procedure:Before testing, the test subject is given a Response Form and a Test Book (Form A and B). The psychologist asks the subject to open the 1st page of the Test Book and begin acquaintance with the general instructions for the test:

After the psychologist has made sure that the instruction is understood by the subjects correctly, the command is given to “turn the page”, and work begins on the subtests of the first part of the test.

Each subtest begins with 2-3 "trial" tasks or examples, which allow the subject to master the logic of performing tasks. In this case, the correct answer is indicated only in the first example (it has already been crossed out on the Answer Form). The subject solves the remaining examples on his own and crosses out the letters corresponding to the correct answers in the Answer Form. The psychologist checks the correctness of the solution of the remaining examples and corrects errors together with the subject.

The answer form consists of 2 parts, corresponding to two parts of the test. Each part of the Answer Form contains 4 columns corresponding to 4 subtests. The number of lines in the column reflects the number of tasks in each subtest.

After completing all the "test" tasks, the psychologist gives the command: "Turned the page, started" - and counts the time using a stopwatch. On the command “Stop”, the subject finishes working on the subtest.

You can take a short break between the 1st and 2nd parts of the test. The second part of the test begins by repeating the main points of the general instruction. Each subtest still starts with 2-3 "trial" tasks or examples. The correct answer is indicated only for the 1st example. The subject solves the remaining examples on his own, the psychologist checks the correctness of the solution. In contrast to the first part of the test, no verbal explanations are provided for the "trial" tasks. Work on the main tasks begins with the command “turned the page, started”, and ends with the command “stop”. The letters corresponding to the correct solutions are crossed out on the second part of the Answer Form.

Individual and group testing is possible. In a group test, each subject must have a Test Book and a Response Form. The subjects seated next to it are encouraged to offer different forms of Test Book (A and B). You should also use parallel forms when retesting with a short time interval.

Working time on individual subtests (in minutes)

Subtest 1 Subtest 2 Subtest 3 Subtest 414433Part 23333

Instructions:“This test has two large parts, built in a similar way.

Each part contains graphic tasks, which are divided into four groups (four subtests) of 8-14 tasks each.

In each subtest, the tasks are arranged in order of increasing difficulty. You may not be able to solve all the tasks correctly. Always try to solve as much as possible anyway. If you are not sure about the correctness of the solution, then it is better to choose the solution that seems most likely than not to solve the problem at all. All tasks have only one correct solution.

The time for solving each subtest is limited. You will begin and end work exactly as directed by the experimenter. If you finish ahead of time, check your solutions again.

Fill in all decisions on the Response Form. Do not write or mark anything in this notebook.

Wait for instructions for further work!

Don't turn the page without permission! "

Processing and interpretation of results:Answer forms with the test subject's results are processed using special keys. For each correct answer, the subject is awarded one point. The total of "raw" points is calculated separately for the 1st and 2nd parts of the test, as well as for the 1st and 2nd parts of the test together. The raw scores are entered into the first summary table of the Answer Form. Raw scores are converted to scale IQ scores (X \u003d 100; σ \u003d 15 ) using the Regulatory Tables. The number of the translation table depends on the age of the subject (number of full years and full months at the time of testing) indicated above each table.

The results obtained are graphically reflected in the second summary table. It also shows the ratio of IQ scores to percentiles.

The final grade of the test is the IQ (1Q), which is an integral indicator of the intellectual development of the subject.

It is believed that the average rate is in the range from 90 to 110 points. Indicators above this level may indicate the giftedness of the subject, below it - about a lag in mental development.

2.3 Analysis of results

According to the results of the first study, it became known that two subjects had a high level of creative potential, five subjects had a level of creative potential above the average, six subjects had a level of creativity slightly above average, and three subjects had an average level of creativity.

Table 1

Creativity level Number% of subjects with a given level of creativity Very low level 0 Low level 0 Below average 0 Slightly below average 0 Average 2 pers. (13.3%) Slightly above average 6 pers. (40%) Above average 5 pers. (33.3%) High level 2 pers. (13.3%) Very high level 0

According to the results of the second study, it became known that all 15 subjects have quite normal creativity. They all have the qualities that allow them to create, but they also have problems that hinder the creative process. In any case, the potential of the subjects will allow them to prove themselves, if, of course, they wish it. If the subjects want to, they will achieve success, only for this they need to understand themselves deeper, to understand what attracts them most, to find the field of activity in which they can maximize their talent. Subjects should ask themselves the question more often: "Is this my business?"

The data obtained means that without any learning base, without a good intellectual foundation, high development of creative potential is impossible.

This means that a person with an IQ of 150 may be less creative than a person with an IQ of 125. However, with a very high IQ (170-180 units), as in the case of insufficient development, an obstacle is created over the normal development of creative potential. High-minded intellectuals are rarely creative people, as they are focused on learning and assimilation.

Conclusion

In the course of the research, I studied the theoretical foundations of creativity, creative potential and learned methods for diagnosing the creative potential of an individual. I also assessed the level of the subjects' creativity using two methods and analyzed the results.

It became known to me that the creative potential in a person has been inherent since childhood, and if it is not blocked, it will develop, the main thing is to correctly guide the child and help him in the development of talents.

I also learned that in order to develop your creative potential, you just need to start doing something completely new, the main thing is that you like this new occupation. Then the "new" will unite with the "old" in previously unknown, amazing and wonderful forms. New skills will be formed, social experience will be enriched and creativity will increase.

From the biographies of famous creative people, it was noticed that a new, abstract occupation radically changed their fate, determined their success, and sometimes saved lives. For example, David Sanborn was able to survive only thanks to his saxophone, Elvis Presley owned karate, and this saved him from leaving for another world for a long time. And Steve Gadd, a famous drummer, learned to tap dance, which allowed him to form his genius style of playing the drum kit.

Many psychologists use this method of increasing creativity to treat many psychological and physiological diseases. Because it is the new hobby that effectively increases the creative potential and improves the soul of the individual.

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Similar work to - Methods for diagnosing creativity

A.V. Lukanovska

The article focuses on the structural components of a person's creative potential. There are various interpretations of the phenomenon of creativity, its nature, basis, structure of the creative process, methods of developing creative abilities, etc. Recently, the search for ways and means of developing the creative potential of an individual has intensified.

Key words: creativity, creative activity, creative abilities, creative personality potential, structural components, psychological aspect.

The article focuses on the structural components of a person's creative potential. There are various interpretations of the phenomenon of creativity, its nature, foundation, structure of the creative process, methods of developing creative abilities, etc. Recently, the search for ways and means of developing the creative potential of the individual has intensified.

Key words: creativity, creative activity, creativity, creative potential of a person, structural components, psychological aspect.

The problem of the creative development of a personality is acute in the modern world. Every civilized country or one that wants to be civilized cares about the creative potential of society in general and of each person in particular. All this together is connected with the level of general education, attention to the development of the creative potential of the individual, giving her the opportunity to show her abilities.

Today, creativity is proclaimed an integral part of any human activity. And the place of creativity in the structure of activity will increase in connection with the transformation of the human environment from natural to created, technogenic. The urgent need to activate creatively transforming activities in the context of the new realities of social development has caused the need for a deep scientific development of the problem of creativity. As a consequence, the problem of creativity, the problem of man as a creator, the problem of human life as a creative ascent to one's own "I" are among the most important in philosophy, psychology and pedagogy. The main attention is paid to the development of the creative potential of the individual. Scientists are looking for a means of identifying and developing the natural gifts of each child, in order to help her to realize herself, to make creativity an integral part of her activity. This is because creativity makes a person happy and useful to society.

In the 20-30s of the XX century. mainly psychologists and physiologists were engaged in the study of creativity. Since the second half of the 50s and until now, the phenomenon of creativity has been developed at various levels. The works of G. Altshuller, D. Bogoyavlenskaya, I. Volkov, A. Shumilin and others are devoted to clarifying the essence of creativity and its mechanisms. G. Kostyuk was involved in the psychology of creativity in his time. He carried out an analysis of abilities, their structure with an emphasis on the value of natural inclinations, which are successfully developed in the relevant activity. JI Labor. Vygotsky, I. Volkova, A. Luka, O. Leontieva, V. Molyako, Y. Ponomarev, V. Chudnovsky

Yurkevich and others reveal the ways and means of developing the creative abilities of the individual. The works of I. Semenov are devoted to the substantiation of the effectiveness of group forms of development of creative activity of students,

Stepanov, V. Molyako, V. Rybak. Sh. Amonashvili, D. Jola. B. Nikitin, V. Sukhomlinsky, V. Shatalov and others discovered the pedagogical conditions for the development of creative abilities, found out the peculiarities of the development of the creative abilities of schoolchildren in various activities. The works of A. Andreychak, I. Bekh, D. Bogoyavlenskoi, A. Bodalev, M. Borishevsky, A. Vasilieva, E. Golovakhe, V. Davydov, A. Kirichuk, A. Kononko are devoted to the problems of developing the creative abilities of schoolchildren of different ages , A. Kronik, I. Kulaginoi, N. Leites, A. Luka, A. Matyushkina, V. Molyako, V. Rybaki, L. Fridman, M. Frizen, I. Yakimanskaya, E. Yakovleva and others. D. Jola and B. Shcherbo point to the importance of aesthetic education and the role of art in the development of the creative abilities of students of different age groups. A. Maslow, V. Molyako, V. Rybak, K. Rogers and others are investigating the dependence of a person's creative abilities on the social conditions of his habitat. The side effects of attracting schoolchildren to creative activity (including the formation of their cognitive activity) are investigated by K. Abulkhanova-Slavskaya, Yu. Babansky, V. Davydov, I. Rodak, P. Pidkasisty and others.

An analysis of the results of the studies performed allows us to state that the researchers managed to uncover the meaning of figurative thinking in the creative process, to follow its connection with verbal-conceptual thinking, to comprehend in a new way the connections between thinking and speech, to show the role of the subconscious and intuition in creativity, to determine hypotheses, analogies, modeling in a creative search for solutions to problems, to understand the connection between formal and dialectical logic, to show that dialectical logic is the logic of creativity, inventions and discoveries.

The versatility of creativity attracts attention, its various sides are reflected in the concepts of creative potential, creative possibilities, creativity, creative thinking, creative activity, creative attitude, creative activity, creative work, creative personality. For a long time, creativity was seen as the most fully expressed manifestation of the human spirit. At the same time, it was believed that this phenomenon does not lend itself to scientific analysis at all.

Creativity is often defined as an activity, the result of which is the creation of qualitatively new material and spiritual values. Together, creativity is a person's ability to create a new reality out of the available material on the basis of knowledge of the laws of the objective world. A body that satisfies a variety of social and personal needs.

Shumilin identifies the following signs of creativity.

Creativity is an activity that consists in the production of substantially new social values: methods of activity, material and spiritual products.

Originality - non-standard methods and means are used.

Creation of new useful combinations of elements of existing objects, methods, means by combining.

Organic connection with the knowledge of reality. Creating new values, a person relies on existing knowledge and at the same time expands it. The act of creativity is at the same time an act of knowledge. The two main paths of cognition are the disclosure of existing patterns due to the reflection of reality and in the process of transforming reality, in creativity.

Creativity is a form of development of society, environment, culture.

Creativity is the highest type of activity, a form of development and a generic essence and characteristic of a person.

The unity of the ideal and the material is inherent in creativity.

Molyako states that "in the psychological aspect, creativity should be understood as the process of creation, discovery of something new, previously unknown for this particular subject."

Within the framework of this approach, creativity is investigated in two main aspects - procedural and personal. In the procedural aspect, the features of the transformation by the subject of the subject of creativity, objective reality in general, are determined. Therefore, the stages, stages, phases and results of the said transformation come to the fore. In the personal aspect, the main place is occupied by the qualities, abilities of the individual as a subject of creative activity, her needs, motives, interests, knowledge, skills, skills, characterological properties, emotions, feelings, etc., as well as their development. Recently, a tendency towards rapprochement, a combination of the procedural and personal aspects of the study of the problem of creativity, has become increasingly apparent. This is facilitated by the introduction of a systematic approach in scientific research.

It should be noted that the study of creativity actualized the rapid development of production in the late 19th - early 20th centuries. As a consequence, research into scientific and technical creativity appears; subsequently, some aspects of organizational and artistic creativity are intensively investigated.

Creativity at its various levels is available to everyone. In the understanding of creativity as an activity, it gives rise to a fundamentally new thing, an assertion is made about the absence of a creative principle in an ordinary person, which is present and vividly represented in gifted individuals. From this position, K. Cox, K. Taylor, E. Rowe and others investigate the characterological, emotional, motivational, communicative qualities of gifted individuals, as a result of which their generalized personal portrait is created. In contrast to the stated JI. Vygotsky wrote that the highest manifestation of creativity is still available only to a select few geniuses of mankind, but in everyday life that surrounds us, creativity is a necessary condition for existence, and everything that goes beyond the routine and which contains at least an iota of new obligations "is linked by its origin to the creative process of man.

The internal source of creativity is the interaction of qualities and personality traits capable of realizing a specific creative act. This phenomenon is usually called creative potential. Potential is a quantity that characterizes the potential energy of the subject of creativity. Philosophically, creative potential is viewed as a synthetic quality of an individual, characterizes the measure of P opportunities to set and solve new tasks in the field of activity of social importance. It can be represented as a set of transformative-subject (skills, abilities, abilities), cognitive (intellectual abilities), axiological (value orientations), communicative (moral and psychological qualities), artistic (aesthetic abilities) capabilities. Psychological personality traits are considered in psychology as a consequence of the spontaneous process of the deployment of hereditary development programs, as well as as a result of the formation of the human psyche in certain cultural, social, historical conditions. Throughout the previous history of development, thanks to heredity, mankind has accumulated the necessary potential for creative activity.

The internal personal tendency towards creative problem-solving has been called "creativity". From a psychological point of view, creativity is closely related to other traits in an integral system of personality traits. Views on the nature of creativity are revealed in the works of S. Arieti, E. Chris, JI. Cuba. She acted as a subject of special study in the research of such scientists as Wallach, J. Guilford, H. Gruber, J. Davidson, V. Druzhinin, N. Kogan, V. Kozlenko, P. Kravchuk, JI. Lyakhova, S. Mednik, V. Molyako, G. Mooney, J. Odor, Y. Ponomarev, P. Torrens, K. Torshina, D. Feldman, D. Harrington, A. Stein, etc.

D. Bogoyavlenskaya considers intellectual activity to be the main indicator of creative potential. E. Yakovleva understands creative potential as a personal characteristic, but not as a set of personality traits, but as a person's realization of his own individuality. Human individuality is unrepeatable and unique, so P realization is a creative act (bringing something new into the world, which does not exist). The characteristics of creative potential, from her point of view, are objective (in the sense of having a product, material or ideal), aprocedural, because this is the process of revealing one's own individuality. The expression of your own individuality is nothing more than the expression of your feelings, emotions. To provide opportunities for emotional self-expression, smell, taste, tactile, sound, and visual sensations are used. Breaking the patterns of emotional response provides an opportunity to develop your own, individual, unique repertoire of emotional response.

The structure of abilities, according to A. Melik-Pashayev, is not a combination of individual qualities, but the number of manifestations of "something single". Analysis shows that the views of this author are somewhat different from the concept of abilities, professed by representatives of the scientific school of the activity approach: abilities are not only manifested in the process of activity, but also arise in it. Abilities are a prerequisite for successful activity, at the same time they develop in the process of activity. Involvement in creative activity, in particular, conditions the development of a person's imagination, thinking, the ability to abandon the usual methods of solving problems, evaluate the phenomenon from several points of view at once, see more of what others see, quickly focus and switch attention, etc. ...

In his research I.S. Voloschuk notes that the structurally creative potential of an individual is determined by the main forms of manifestation of the human psyche, namely, cognitive and emotional-volitional processes, mental states, properties, etc. This means that the creative potential of an individual is of a universal human nature.

Since creative ideas have an empirical basis, the creative potential of an individual is, of course, determined by his ability to reflect objects and phenomena of objective reality. At the same time, there is no scientific data showing the connection between the creative potential of the individual and the characteristics of his sense organs. This is the basis for considering the latter as a necessary condition for mental activity and not highlighting them as a component of the creative potential of the individual. Together, intuition suggests that the creative abilities of an individual in a certain way should have depended on the specifics of sensory processes. Indirect confirmation of the above said cases of significant creative abilities of individuals with unique characteristics of sensory processes at the expense of the loss of others.

Creative potential is, of course, the ability of an individual to concentrate on the object of perception, which determines the strength with which his individual properties act on the sense organs, and the effectiveness of activating temporary neural connections.

One of the signs of an individual associated with the peculiarities of perception inherent in him, without which his work cannot be conceived, is observation. Observation is manifested in the ability to notice in the object of perception imperceptible, but essential details. They allow you to see and formulate a problem that requires a solution. Observation is a pivotal quality of a person.

For effective creative activity, it is necessary to have the ability to optimally perceive objects and phenomena of the objective world. In the case of an excessive breadth of the formulated problem, it is very difficult to find its solution. In the case of excessive narrowness of the problem, it as such does not actually exist, and the solution has the character of an image of simple improvement rather than a qualitatively new approach.

The creative potential of an individual is also his ability to perceive objects and phenomena of the surrounding reality in an optimal holistic way. Perceiving this or that object, a person must see it as a whole and, at the same time, single out its components. Excessive integrity prevents the whole from seeing its structural components. Insufficient integrity of perception, on the contrary, does not allow to make a whole from separate components and to see in it something somewhat different from the sum of structural components.

It is known that not all details of an object or phenomenon are equally vividly reflected in the presentation. Those that have significant meaning for the individual appear in relief, those that do not have such meaning are indistinct. The same properties of objects and phenomena in some cases may appear essential, in others - insignificant. Therefore, in order to effectively operate them and ultimately for creativity, it is important to perceive objects and phenomena of the objective world in the greatest possible combination of their properties and to represent them in situations in which various properties appear as essential. This quality of the individual helps him see objects and phenomena of the objective world from different angles of view, makes the concept of them dynamic and actually opens the way to using them in non-standard situations when the insignificant properties of objects and phenomena become essential.

The leading place in the structure of a person's creative potential is occupied by the characteristics of imagination. When creating a mental image, an individual uses previous experience, analyzes it, identifies structural elements in it, applies some of them, combining according to his intention, or completely accidentally comes to create a new image. If an individual easily unites separate elements that are interconnected by a deep connection, then he has a rich imagination.

Since byproducts of object action participate in the production of new ideas, the creative potential of an individual must necessarily be represented by his well-developed involuntary memory. It is also important for productive creativity that memory is fluid and accurate.

Among the structural components of a person's creative potential, perhaps the central place belongs to the qualities of thinking. J. Guilford assert ?? that such signs of thinking as speed, flexibility, originality and accuracy are of particular importance for creativity. E. Torrens is in the same position. It is quite natural that for productive creative activity, a well-developed logical thinking is necessary, since the creative process begins with the formulation of a problem situation: analysis of the existing situation, identification of the imperfect, obsolete in it, the advancement of the final goal, the discovery of the contradiction between the given situation and the final goal. Intuitive thinking is no less important in the structure of an individual's creative potential, since a new idea is the result of the intersection of two independent series, a leap of thought aimed at overcoming a psychological barrier is carried out at an intuitive level.

One of the prerequisites for creative thinking (without which a creative task cannot be solved) is the individual's ability to think independently. For an individual to think independently, he must first of all have such a character trait. Yu as courage. After all, in order to find a creative solution to a problem, you need to question the existing solution. To find a problem, to formulate a problem, it is often required to challenge the authorities on the exhaustion of the systems they have proposed or solutions to certain problems. Of course, courage should be developed to the extent that general criticism of the results of someone else's work, rejection of the ideas of others has nothing to do with productive creativity. The individual is required not only to be able to question the reliability or completeness of the results obtained by others, but also to offer his own effective solutions to this criticized. Therefore, the boldness of criticism and doubts has to be supplemented by the fear that one's own results will be better and more effective. As a result, clever balance, hardly noticeably biased towards doubt, should characterize the creative potential of the individual.

When proposing a solution to a creative problem, a person, as a rule, cannot foresee all the consequences arising from it. This is especially true of organizational technical creativity. In this case, you have to make risky decisions that can result in serious economic or social problems. If you do not offer innovative (partially risky) solutions, then there are more chances to avoid conflict situations, but non-rejection steps are usually trivial and differ little from the existing methods of solving certain problems. This, of course, does not mean that any risky decisions can be justified. The risk must necessarily take place in creative activity, but the risk must be weighed, thought out. To make risky decisions, you must first predict the consequences of your actions. And yet, with a relative balance of willingness to take risks and the desire to accurately predict the consequences of the proposed solutions to certain problems, the first should prevail in the creative potential of an individual. And this is possible provided that such a character trait as courage is inherent in the individual.

Determination is a valuable personality trait. Often, an individual realizes that the method, device or process that he uses does not give the desired results, and therefore must be improved. Often he even has an idea for such an improvement, but the forces of inertia prevent him from taking on the improvement, to get involved in the creative process. Sometimes he is sure that he will bring the matter to its logical conclusion, receive a positive result, and therefore hesitates to take on its implementation. Overcoming the forces of inertia takes determination.

A person who is attracted to innovative processes, due to objective circumstances, is constantly forced to defend his views, ideas, solutions to certain problems. Often, such advocacy is accompanied by a clash of interests, conflict with representatives of other views on the same problems. As a rule, forces are uneven, therefore it is always more difficult to introduce new things than to defend the old. So, from an individual who proposes new solutions to a problem, it takes a certain courage to withstand, not submit and defend his innocence, giving a start in life to his own decisions. Meanwhile, it may happen that ideas that seemed correct, over time, in the process of discussion, turn out to be false. Then courage is needed again, but not in order to prove anything that you are right, but on the contrary, in order to give up your views.

An equally valuable trait in the structure of creativity is persistence in achieving the set goal. This refers to volitional efforts aimed at overcoming difficulties that arise in the process of solving a creative problem. Persistence helps to prove Communication solutions to their logical conclusion, not ziita from a distance halfway. The path to the heights of creative achievements is thorny and difficult. Quite often a scientist or an artist encounters seemingly insurmountable difficulties. In such a situation, the faith must come to the rescue that it is possible to reach the cherished distance, that the difficulties are temporary, that not the entire road is paved with them, that there will be minutes of rapid approach to the set goal. It is impossible to convince yourself of this without being an optimist.

A valuable component of an individual's creative potential is giving them an advantage over the simple, the desire to learn the meaning, and not be limited to form. This contributes to the receipt by the individual of non-traditional, non-standard solutions to creative problems, as well as the formulation of problems, the solutions of which potentially conceal a significant leap forward, since the contradictions in the content are always fundamental ?? And, than the contradictions in the form, and the elimination of the former is always accompanied by more radical changes than the elimination of the rest. In the process of solving problems, a person lies in wait for the opportunity to turn from the non-standard path of developing his opinion and follow the beaten track. In order not to be tempted to such actions, the individual must have the desire to move away in the process of solving problems, as far as possible from ordinary, trivial solutions, while showing his "I", the originality of his own thinking, in essence, is the same preference for the complex over the simple. It must be remembered that the desire to move as far as possible from the usual should not be an end in itself, but should serve as a condition for finding an original solution to a creative problem. Striving to be original in everything is just as harmful as not wanting to stand out from others.

Difficult tasks often require the mobilization of the creative forces of a whole group of scientists, engineers, economists, etc. The effectiveness of a collective search for a solution depends on many factors, leading among which is the principledness of the individual in the essential and compromise in the trifling. Where it is about principles, foundations, a cardinal difference in approaches, you need to prove your case within reason, until you convince your opponent, or you yourself are not convinced. But when it comes to the partial, superficial, not principled, an individual for the sake of a general positive result needs to be able to compromise, agree with the opponent, even without completely sharing his views. The optimal ratio of adherence to principles and compromise in the character of an individual helps him bypass competing factors in the process of independent work on a problem. This is especially typical for technical and organizational creativity, when it is impossible to nullify the negative impact of certain factors, and therefore you have to eliminate something, and put up with something. The effectiveness of collective and individual creativity is largely influenced by the individual's impartial attitude to other people's views, thoughts, ideas, etc.

An active life position must find its place in the creative potential of a person! modesty in assessing the results of their own work. People with an active lifestyle strive to master the forces of nature and use them for the benefit of humanity. Individuals who are characterized by the above modesty are aware of the meagerness of their own achievements in comparison with the huge amount of unsolved and available for solving problems.

The individual's purposefulness affects the results of creative activity. In order to achieve something in life, each person needs to set a certain goal for himself and, without changing it, gradually approach it. This requirement is somewhat contrary to the guidelines for all-round development. Therefore, in order to achieve success in creativity, the individual has an optimal combination of general and special knowledge and interests and, on this basis, purposefully achieve the set goal in life.

Structurally, the creative potential of the individual is also a balanced demand for the results of his work. History of science and technology, etc. full of examples, when the authors, having made a certain discovery or invention, were in no hurry to publish them. There are cases when the emotional result of the results obtained is so great that the author cannot resist not to report them, additionally, without making sure of their reliability. Both the first and second extremes are harmful.

An important character trait of a personality is a passion for ordering, systematizing existing knowledge and ideas. Seeking a logical connection between individual elements, imposing a certain structure from them, an individual often comes across elements that do not fit with all the others. In this case, empty spaces and unfilled cells may appear in the formed structures. The opening of such empty cells is a prerequisite for the emergence of a problem situation and the formulation of a problem or creative task. At the same time, this character trait should not contradict the tolerance of the temporal without order, chaos, and absurdity. On the example of the interaction of these features, their dialectical relationship is observed. At first, the individual seeks to order the available material, then it turns out that he ordered it not in order to be satisfied with it, but in order to come through order to a new disorder, and so on without end.

A. Melik-Pashayev belongs to those researchers who attribute spirituality to the components of creative potential, although in his interpretation it appears in the concept of “soul”. A. Kirichuk considers spirituality as an important prerequisite for the creative self-realization of a person, and not in an ideal, but at a real-practical level. The specified author considers spirituality not as an a priori existing substance, but as one that should be purposefully developed in a person. Spirit is considered by him as the immanent ability of a person to free action, deed, spirituality - as a systemic mental formation, a specific human trait, is represented by its value-semantic consciousness, in contrast to the conceptual-logical; catharsis (in general) - true self-purification, aimed at separating the individual (personality) from the environment and his unlimited increase over this environment. Spiritual-cathartic activity is manifested at the creative-creative level of self-regulation of leisure-play, physical-health-improving, artistic-figurative, subject-ultimate, educational-cognitive, social-communicative, socially-useful, national-civic activity of the individual. A prerequisite for spiritually cathartic activity is a sufficiently developed "I" - the concept of "personality" - a system of ideas of a person about himself, on the basis of which he builds his relations with the world and himself.

Realizing the complexity of the structure of the creative potential of the individual, some researchers still try to identify in him such qualities that, with their minimum quantity, would characterize the creative intelligence as a whole. In one of the approaches, among the dominant features, the divergence of thinking is distinguished. Imagination is often singled out among the leading personality traits. Often, a creative person is associated with an individual who is characterized by learning from past experience. Sometimes the level of an individual's creativity is judged on the basis of how he gets out of deadlock situations with temporary failures. There are cases when values, emotional-motivational and intellectual spheres are distinguished in the structure of creative potential. There are other approaches to disclosing the structure of the individual's creative potential, but all of them, despite their value, have certain drawbacks, typical of which are their limitations, pulling out individual qualities from the integral structure of the personality.

recently, the search for ways and means of developing the creative potential of the individual has intensified. This is due to the fact that in conditions of high-tech production without the proper creative potential, an individual, a social group or a people find themselves on the sidelines of civilization processes. E. Yakovleva, in particular, has developed a program for the creative development of personality, tested on schoolchildren. The program consists of four blocks: 1) "I-I" (communication with oneself), 2) "I am different" (communication with another)

"I am society" (communication with social institutions) 4) "I am the world" (how I explore this world). The specified program was developed taking into account the fact that the undoubted dependence of the level of development of abilities on natural inclinations, the characteristics of the nervous system; another source of development of abilities is the social conditions of training and education of the individual.

So, we can conclude that the structurally creative potential of an individual is determined by the main forms of manifestation of the human psyche, namely: cognitive and emotional-volitional processes, mental states, properties, etc. Creative potential, no doubt, is determined by the individual's ability to concentrate on the object of perception ... One of the signs of an individual, without which his work cannot be conceived, is observation. For effective creative activity, it is necessary to have the ability to optimally perceive objects and phenomena of the objective world. Creativity is also determined by the ability to optimally holistically perceive objects and phenomena of the surrounding reality. It is important for creativity to have the ability to perceive objects and phenomena of the objective world in the greatest possible combination of their properties and to represent them in situations in which various properties appear as essential. The leading place in the structure of a person's creative potential is occupied by the characteristics of imagination. Since by-products of object action participate in the production of new ideas, the creative potential of the individual must be represented by his well-developed involuntary memory, in addition, for productive creativity it is important that the memory is mobile and accurate. Among the structural components of a person's creative potential, perhaps the central place belongs to the qualities of thinking; such signs of thinking as speed, flexibility, originality and accuracy are of particular importance; it is natural that for productive creative activity, well-developed logical thinking is necessary; no less important in the structure of an individual's creative potential is a well-developed intuitive thinking. One of the prerequisites for creative thinking is the individual's ability to think independently. For an individual to think independently, he must first of all have such a character trait as courage. Determination is a valuable personality trait. It takes a certain amount of courage from an individual who proposes new solutions to a problem. In order not to get lost in an uncertain situation, the individual must be an optimist. An equally valuable trait in the structure of creativity is persistence in achieving the set goal. A valuable component of an individual's creative potential is giving them an advantage over the simple, the desire to learn the meaning, and not be limited to form. The effectiveness of the collective search for a solution to the problem depends on many factors, the leading among which is the principledness of the individual in the essential and compromise in the trifling. The effectiveness of collective and individual creativity is largely influenced by the individual's impartial attitude to other people's views, thoughts, ideas, etc. In the creative potential of the individual, the individual's active life position and his modesty in assessing the results of his own work find a place. The individual's purposefulness affects the results of creative activity. Structurally, the creative potential of the individual is also a balanced demand for the results of his work. An important character trait of a personality is a passion for ordering, systematizing existing knowledge and ideas; at the same time, this character trait should not contradict the tolerance for temporary disorder, chaos, absurdity. The components of the creative potential of a person include his spirituality.

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The accent on the structural components of personality creative potential is made in the article. Various interpretations of the phenomenon of creation, its nature, basis, structure of creative process, methods of development of creative capabilities take place and others like that. The searches of ways and facilities of development of personality creative potential activated lately.

Key words: creation, creative activity, creative capabilities, creative potential of personality, structural components, psychological aspect.