The message on the topic of creativity in science is short. Creativity in art using the example of a famous personality. Analysis

Since ancient times, the creative process has attracted the minds of philosophers and thinkers who tried to penetrate the secrets of human consciousness. They intuitively understood that it is in creativity that the main purpose of the mind is inherent and manifested. After all, if we consider it as broadly as possible, it turns out that in almost any type of activity one can find elements of the creative process. Let's try to understand this in art using the example of a famous person.

Leonardo da Vinci

Let's start with probably the most famous personality in the entire history of human culture. The Father of the Renaissance, a genius in so many fields of science and art that he can rightly be called an example to which anyone who seeks to contribute to the creativity of humanity should emulate. It is perhaps very simple to consider creativity in art using the example of a famous person - Leonardo da Vinci, since everything here is quite obvious.

Probably, invention is one of the most important forms of creativity and the creation process in general. That is why it is so easy to consider this person in such a context. Since Leonardo was known as the developer of the multitude, for this alone he can be given the palm in such a difficult matter as creativity.

Creativity and art

But since we are talking about art, then, obviously, we should consider its most important manifestations. Such as painting, sculpture, architecture. Well, in these areas the Italian genius showed himself sufficiently. Using the example of a famous person, it is better to consider it in the context of painting. As you know, Leonardo was in constant search, in experiment, even here, where a lot depends on technology, on skill. Its powerful potential was constantly turned to solving new problems. He experimented tirelessly. Be it playing with chiaroscuro, using fancy haze on canvases, paint compositions, unusual color schemes. Da Vinci was not only an artist and sculptor, he constantly set new horizons for both thinking and art as one of the manifestations of the activity of the mind.

Lomonosov

Another famous, perhaps more famous in the Slavic world, is Mikhailo Lomonosov. should also be considered in detail in the chosen context. Creativity in art using the example of the famous personality Lomonosov is no less interesting from the point of view of understanding how the genius of the mind works. Having been born much later, and therefore having much fewer areas in which to become a pioneer, he chooses for himself the very difficult path of a natural scientist.

Indeed, it is much more difficult to be creative in areas such as physics or chemistry. However, it was precisely this approach that allowed Lomonosov to achieve heights in the knowledge of the Universe that Da Vinci did not even aspire to. Not to mention the fact that our compatriot has achieved serious success in art. Take, for example, his poetic talent or his pursuits in painting, which also deserve careful study.

Conclusion

Considering creativity in art using the example of a famous person, we come to the conclusion that any creation implies a search for unexplored horizons, followed by a new understanding, the achievement of the unknown. Many great people became such precisely thanks to this ability - to find the incomprehensible in the seemingly completely ordinary, located at arm's length.

Thus, having analyzed creativity in art using the example of a famous person, we can say that a person seeking to achieve recognition must consider his own activities from the point of view of invention, providing a new understanding of the obvious.

What is creativity? This word means the creation of something new and valuable for humanity.
Creativity is creation. It distinguishes the activities of different people - writers and poets, artists and musicians, scientists and inventors - all these professions are considered creative.

The main feature that distinguishes creativity from other activities, for example, ordinary manufacturing, production of goods, is the uniqueness of the result obtained and its unpredictability. No one, often even the author of a work, an inventor, or a scientist, can predict what will happen as a result of his work.
The result and the creative process itself cannot be planned in advance. No one except the author himself will be able to get exactly the same result if the same initial situation is created for him. Thus, in the process of creativity, the author uses his experience, ideas, imagination, one can say that he puts “his soul” into his work, discovery. This is what gives creative products additional value associated with the personality of the creator, which cannot be the case in the production of ordinary goods.
The second sign of creativity is special thinking that goes beyond the usual knowledge and patterns, inherent only to one specific person.
An important place in creativity is occupied by an intuitive understanding of one’s actions, as well as special states of human consciousness - inspiration, insight.
Thanks to the combination of novelty and unpredictability, an interesting creative product is born.
Types of creativity
Creativity can manifest itself in absolutely all spheres of human life: from the creation of cultural objects to communication. Therefore, the following types of creativity can be distinguished:
1. Artistic creativity - the creation of works of music, literature, paintings, sculptures, etc.
2. Technical creativity - invention and creation of new technical products, machines, electronics, high-tech devices, etc.
3. Scientific creativity - the discovery of new knowledge, expansion of the boundaries of what is already known, confirmation or refutation of previously existing theories.
The last two types of creativity are very closely related to each other. It is often impossible to invent any new object without scientific discoveries.

Application of creativity in science and art.
Science and art are two areas of activity that accompany the development of humanity throughout its existence. German poet of the 19th century. I.-V. Goethe wrote that: “... culture needs science and art in equal measure. In order for science to bring benefit and joy to people, and not harm and grief, it must be closely connected with art.” The great scientist A. Einstein also said that: “Music and research work in the field of physics are different in origin, but are connected by a unity of purpose - the desire to express the unknown. This world may be composed of musical notes as well as mathematical formulas."
Both the scientist and the artist recreate the world in the name of the main goal - the comprehension of truth, beauty and goodness. People of science and art are united by thought and creativity.
What is science? Science refers to human activities that allow us to accumulate and systematize knowledge about the world around us, as well as about man himself. Scientific knowledge usually begins with a hypothesis or theory, which is then tested in practice.
A feature of the scientific approach is the condition that any theoretical judgment must be supported by facts and evidence. If this is not the case, then the judgment cannot be called scientific. Moreover, it is not always false - it is simply impossible at present to confirm it with objective (independent of human desires) data.
Evidence of theories can be collected using various data: observation, experiment, work with recording and computing devices, etc.
It is generally accepted that...

It is generally accepted that creativity and science are in no way connected, and sometimes even opposite, spheres of our life. But is this really so? You will learn about whether creativity exists in science and how it is expressed in this article. You will also learn about famous personalities who, by their example, have proven that they can coexist scientifically and successfully.

This word means the creation of something fundamentally new in any area of ​​human life. The first sign of creativity is special thinking that goes beyond templates and everyday perception of the world. This is how spiritual or material values ​​are created: works of music, literature and visual art, inventions, ideas, discoveries.

Another important sign of creativity is the uniqueness of the result obtained, as well as its unpredictability. No one, often even the author himself, can predict what will happen as a result of a creative understanding of reality.

An important place in creativity is occupied by an intuitive understanding of reality, as well as special states of human consciousness - inspiration, insight, etc. This combination of novelty and unpredictability results in an interesting creative product.

In this area of ​​our activity, objective knowledge about the world around us, as well as about man himself, is accumulated and systematized. A feature of the scientific approach is a mandatory condition: any theoretical judgment must be supported by objective facts and evidence. If this is not the case, then the judgment cannot be called scientific. Moreover, it is not always false - it is simply impossible at present to confirm it with objective (independent of human desires) data.

Evidence of judgments is collected using various data: observation, experiment, work with recording and computing devices, etc. Then the data obtained is systematized, analyzed, cause-and-effect relationships are found between objects and phenomena, and conclusions are drawn. This process is called scientific research.

Scientific knowledge usually begins with a hypothesis or theory, which is then tested in practice. If objective research has confirmed a theoretical proposition, then it becomes a natural or social law.

Types of creativity

Creativity can manifest itself in absolutely all spheres of human life: from the creation of cultural objects to communication. Therefore, the following types are distinguished:

1. Artistic creativity (creation of objects of the material or spiritual world that have aesthetic value).

3. Technical creativity (invention of new technical products, electronics, high-tech devices, etc.).

4 Scientific creativity (development of new knowledge, expansion of the boundaries of what is already known, confirmation or refutation of previously existing theories).

In the last variety we see how science and creativity are connected. Both are characterized by the creation of something new, unique and important, of value to humans. Therefore, creativity is not the last place in science. It can be said to be one of the fundamental components.

Types of sciences

Now let's see in what varieties it is presented in our life:

1. Natural sciences (studying the laws of living and inanimate nature; biology, physics, chemistry, mathematics, astronomy, etc.).

2. (studying the technosphere in all its manifestations; computer science, chemical technology, nuclear energy, engineering, architecture, biotechnology and many others).

3. Applied sciences (aimed at obtaining a result that can then be used in practical activities; applied psychology, criminology, agronomy, metallurgy, etc.).

4. Humanities (study cultural, spiritual, mental, moral and social activities of man; ethics, aesthetics, religious studies, cultural studies, art history, anthropology, psychology, linguistics, political science, jurisprudence, history, ethnography, pedagogy, etc.).

5. Social sciences (study society and the relationships in it, in many ways having something in common with the humanities; social psychology, political science, etc.).

Can science be creative?

From the classification of types of creativity it is clear that scientific knowledge very often includes an element of creativity. Otherwise, it would be difficult to make discoveries and create inventions, because in such cases, scientists are often driven by intuitions and unexpected insights, which are then supported by objective data.

Creativity in science also manifests itself when comprehending already known facts, which can either be proven from a different angle or refuted thanks to a new, fresh look. Debunking ingrained myths in science also requires out-of-the-box thinking.

Creativity in science using the example of a famous personality

At the everyday level, it is customary to divide people into those with a humanitarian or technical mindset, while considering that the first category is good in creative and social activities, and the second - in scientific, technical and applied ones. In fact, all spheres of life in modern society are closely interconnected, and human abilities are diverse and can be developed.

There is not only creativity in science, but a combination of scientific and artistic views of the world is also possible. Vivid examples of this can be the legacy of L. da Vinci (painter, sculptor, architect, musician, inventor and military engineer), A. Einstein (theoretician, violinist), Pythagoras (mathematician and musician), N. Paganini (musician, composer , music engineer). Creativity in science is no less clearly demonstrated by the example of a famous person, M. V. Lomonosov, who was a man with encyclopedic knowledge and multiple talents in various fields, which allowed him to realize himself as a natural scientist, chemist, physicist, astronomer, geographer, as well as a historian, educator, poet, literary critic and artist.

It is important to remember that science, creativity, and culture are not separate facets of human activity, but interconnected parts of one whole.

Introduction……………………………………………………..2

The essence of scientific creativity…………………3-4

Methods of scientific creativity………………….5-6

Morphological method……………………………7-9

Conclusion………………………………………………………..10

References………………………………………….11

1. Introduction

Creativity is usually defined as the process of creating something new that has never been before. It can take place in any field of human activity: scientific, industrial, technical, artistic, political, etc. In particular, scientific creativity is associated with knowledge of the surrounding world.

Creativity usually doesn't start with facts: it starts with identifying a problem and believing that it can be solved. The culminating stage of creativity is the discovery of a new, basic, main thought or idea that determines how the problem that gave rise to the creative process can be solved. Of course, new ideas are not open to everyone, but only to a prepared and interested mind. However, the history of scientific discoveries and inventions shows that scientific and technical knowledge and correct attitudes alone are not enough to develop new ideas. All attempts to reduce creativity to a precise methodology applied by everyone involved in creativity have so far failed.

2. The essence of scientific creativity

Many people believe that talent is a natural gift that cannot be developed or compensated for by hard training. Demosthenes also said: “They become orators, they are born poets.” Indeed, natural talent is crucial in becoming a scientist. However, in order for this talent to manifest itself, constantly develop and produce results, it is necessary to put in a lot of work to study the methodology and acquire research skills. Science, like any field of knowledge, over its centuries-long history has developed many techniques that allow us to stimulate the creative process.

The problem of creativity includes creative abilities, a creative climate, creative skills, as well as methods and techniques to activate the creative process. Creative skills are not innate personality qualities, but technological techniques that are formed and acquired in the process of learning and constant stay in a certain creative environment. Creative abilities include unconventional thinking and vision of what does not fit into the framework of generally accepted concepts, the ability to mentally grasp the entire problem and formulate a task, as well as associative memory and other psycho-emotional and characterological properties of the individual.

It has long been noted that new ideas rarely appear as a result of gradual changes, more often it is an explosion, a leap, a sharp departure from the previously known. As you know, the ruler of Syracuse, Hero II, ordered a gold crown to be made for his coronation, and then doubted the honesty of the master, suspecting that he had replaced some of the gold with silver. Archimedes was tasked with establishing the amount of gold in the crown. Archimedes knew that the specific gravity of gold is greater than that of silver, and the weight of the crown exactly corresponds to the weight of the gold given to the master. This means that if fraud took place, then the volume should increase. Thus, the task was to accurately determine the volume of the crown.
Archimedes racked his brains for a long time and to no avail and, exhausted, went to the public baths to relax a little. As he immersed himself in the bathtub, water splashed out.
Archimedes had an epiphany: the amount of displaced water is equal to the volume of his body, which means that the volume of the crown can be determined by the amount of displaced water. And with a victorious cry of “Eureka!” naked Archimedes rushed home through the crowded streets to test his idea.

This spectacular story can be divided into several successive stages that are typical of the creative process:
1. Precise statement of the goal.
2. Collection of information, unsuccessful attempts to solve.
3. Distraction from the task, incubation.
4. Insight, often preceded by a random event-push.
5. Testing the idea.

These main stages of creativity were described by Wallace back in 1926. Alas, over the subsequent years, no significant theory has emerged that could unite disparate facts, observations and assumptions about the nature of creativity, which is most likely due to the particular difficulty of this area of ​​​​knowledge.

3. Methods of scientific creativity

Methods of psychological activation of creative thinking are aimed at overcoming psychological barriers that impede creative thinking.

T. A. Edison said that talent consists of 1% inspiration and 99% hard work. Talent cannot be learned, but it can be developed. Abilities are not yet talent, but they are already a prerequisite for it. Observation, like other abilities, can be developed and improved. There are special tests and techniques for this.

For many years, inspiration, innate abilities, and a lucky chance were considered the constant attributes of creativity, and the very concept of “creativity” was associated with the technology of sorting through options by trial and error. Although trial and error method widespread in science, it is the least effective path to truth. The transformation of science into the productive force of society and the identification of scientists as an independent profession posed the task of developing methods for activating scientific creativity and an algorithm for the creative process.

Among the methods that activate scientific creativity, it is widely known brainstorming method(brain attack), authored by A. Osborne. This psychological method is based on the assertion that the process of generating ideas must be separated from the process of evaluating them. Osborne proposed generating ideas in conditions where criticism is prohibited and, conversely, every idea is encouraged in every possible way, no matter how fantastic it may seem. To conduct a brainstorming session, a small (6-8 people) group of specialists is selected, preferably from related fields of knowledge, who are psychologically adapted to each other and who are “idea generators” in their thinking style. Ideas are generated at a fast pace. In moments of “collective inspiration,” a kind of excitement arises, ideas are put forward as if involuntarily, vague guesses and assumptions break through and are expressed. The ideas expressed are recorded and transferred to a group of experts to evaluate and select the most promising ones

A modification of the brainstorming method is synectics, developed by W. Gordon. The features of this method are the formation of more or less permanent groups of “idea generators”, the introduction of elements of critical analysis of the ideas expressed, the presence of a synectic group leader who directs the process and offers certain analogies. Unlike Osborne, Gordon emphasizes the need for preliminary collection of information, training of experts, and the use of special techniques for organizing the decision-making process.

There are also many methods for systematically searching for ideas, the most famous are method of control questions, morphological analysis.
The test question method is used to better understand a problem by asking questions in a certain sequence. A sufficient number of such checklists have been developed for different areas of activity. Here is an example of one of them:
1. What is the main function of the object?
2. What is an ideal object?
3. What will happen if there is no object at all?
4. In what other area is this function performed and is it possible to borrow the solution?
5. Is it possible to divide an object into parts?
6. Is it possible to make fixed parts of an object movable?
7. Is it possible to exclude preliminary operations?
8. What additional functions can the object perform?

Of the methods in this group, morphological analysis is the most popular. The progenitor of morphological analysis is a representative of the alchemical elite of his time, philosopher, theologian and missionary Raymond Lull (1235–1314), whose ideas were later developed by the Swiss astrophysicist Zwicky. The essence of the method is to compare similar objects and determine their essential components. The main tool is the construction of the so-called morphological box - a table, the “head” of which is made up of the identified essential components of the system, and the possible variants of their manifestation are entered in the columns. By randomly selecting variants of essential components, we obtain their new combination and, accordingly, a new system.

4. Morphological method

People have long dreamed of a method that would cover an exhaustive number of options for solving problems. A certain approximation to this method is morphological analysis. The term morphological (Greek morphe - form) means appearance.

Despite the fact that the term “morphological analysis” was proposed by F. Zwicky, in reality this method has been known for a long time. Its roots go back centuries. Another monk and logician R. Lull (1235–1315) in his work “The Great Art” wrote that through the systematic combination of a very small number of principles it is possible to solve all the problems of philosophy and metaphysics, but the practical means at his disposal , were insufficient. The principles of R. Lull (he limited them to nine) were embodied in devices in which blocks of some circles rotated around others. As a result of moving the circles relative to each other, it was possible to obtain various statements and judgments.

Lull had his admirers. Among them is Giordano Bruno. In his opinion, human knowledge is consistent with nature and the concepts of the mind correspond to the hierarchy of things. Another faithful follower of Lull’s “Great Art” was the famous G. Leibniz, who, at the age of twenty, wrote his work entitled “De Arte Combinatoria” (“On Combinative Art”).

Having analyzed the “Great Art” of Lull, the great R. Descartes saw in it the danger of mechanization of thinking, writing about this in his work “Discourse on Method” literally a few lines before explaining the famous “Four Rules”. G. Hegel also wrote about the mechanistic nature of Lull in his book “Medieval Philosophy.”

In its modern form, morphoanalysis was created by the Swiss astrophysicist F. Zwicky. In the 30s of the twentieth century, F. Zwicky intuitively applied a morphological approach to solving astrophysical problems and, on this basis, predicted the existence of neutron stars. Only at first glance it may seem strange that the method of activating thinking was created by an astrophysicist, because astronomy was one of the first sciences to encounter large and complex dynamic systems (stars, galaxies) and was the first to feel the need for methods that allow analyzing such systems. Technical systems are large dynamic systems in their diversity and complexity. Therefore, it is no coincidence that during World War II, F. Zwicky, who emigrated from Europe, was involved in developments in the field of American rocket and space technology.

The essence of the morphological methodanalysis consists in combining into a single system of methods for identifying, designating, counting and classifying all selected options for any function of a given innovation. Any innovation is associated with the desire to reduce the amount of capital investment and reduce the degree of risk, which always accompanies innovation. And these two characteristics of innovation are directly dependent on the number of changes required.

Morphological analysis is carried out according to the following scheme, consisting of six successive stages. Among them:

1) formulation of the problem;

2) setting the problem;

3) compiling a list of all characteristics of the examined (alleged) product or operation;

4) compiling a list of possible solution options for each characteristic (the list is called a morphological map or table (if there are 2 characteristics of the product) or a “morphological box (hyperbox)” if there are 3 or more characteristics).

In the simplest case, with the method of morphological analysis, a two-dimensional morphological map is compiled: two most important characteristics of the product are selected, a list of all possible forms of influence or alternatives is compiled for each of them, then a table is built, the axes of which are these lists. The cells of such a table correspond to options for solving the problem under study.

Let's look at a hypothetical example. We take parts of a product or stages of an operation as axes. We denote them by the letters A, B, C, etc. Then he writes down possible alternatives along each axis. These will be the elements of the axes: A-1, B-1, etc. Then the morphological box might look like this:
A-1;A-2;A-3;A-4;
B-1;B-2;B-3;
B-1;B-2;
G-1; G-2;

From this box we extract combinations of elements, such as: A-1, B-2, B-2, D-1. The total number of options in the morphological box is equal to the product of the number of elements on the axes (factorial (!) dependence). In our example, the number of options is 4x3x2x2 = 48. In order to select one option from these options, you need to sort through all of them, i.e. do extremely labor-intensive work.

The fifth and sixth stages of morphological analysis are: analysis of combinations and selection of the best combination. In our example, this means that out of the 48 options received, only one option needs to be selected. The choice is usually made by going through all the options, and this is a very labor-intensive job.

When using the morphological analysis method, specific concepts are used:

morphological interval;

morphological distance;

morphological neighborhood;

surface of the morphological neighborhood;

leap (or breakthrough).

The morphological interval of a region (economic, technical, technological, etc.) represents a whole set of discrete points (or coordinates), each of which corresponds to a certain combination of variables. These variables are parameters. Space has as many dimensions as there are parameters.

Morphological distance between two points in space. It is determined by the number of parameters that are not common to the two options. Here it should be borne in mind that two variants that differ from each other in only one parameter are morphologically similar variants. But at the same time, these two options differ in many (i.e., in all other) parameters and are morphologically distant from each other.

Morphological neighborhood. It represents a set of points, each of which is morphologically close to another point.

The surface of a morphological neighborhood is a set of options that differ from the points of a given neighborhood by at most one parameter. The surface area of ​​the morphological neighborhood is equal to the number of such points.

5. Conclusion

Despite the fact that science is increasingly becoming collective, discoveries in science have been made, are being made and will be made by individual scientists, i.e. the final “insight” leading to the discovery of something fundamentally new is a purely individual process and always will belong to any specific scientist. And yet, the art of creativity can and should be learned by creating certain conditions and using certain techniques that contribute to the activation of scientific research, bringing closer “flashes of insight” and giving the opportunity to make a discovery not only for geniuses, but also for ordinary scientists.

Of course, creative thinking is not a magic spell, by studying which you can acquire the ability to work miracles. And yet, a deep study of creativity suggests that its various types have much in common, proceed according to a similar pattern, and there are a number of common technical techniques of creativity. Knowing what creative thinking is, how it works makes it possible to develop it with the help of special training, organized completely consciously, and most importantly, to manage creative activity quite effectively.

“When a method of creating new ideas becomes habitual to you, your imagination becomes unproductive. You no longer notice or realize the opportunities that are in front of you until someone else points them out.
To realize all the opportunities that life provides you, you need to be able to think flexibly, using a variety of methods that can stimulate creativity. The joy of birth of original ideas is available to everyone!”

Creativity taught ancient people to make axes from stone, shoot a bow, use fire, cultivate the land, and raise animals. In the creative impulse of man, the idea of ​​the first spinning wheel was born, steam engines started working, electric light bulbs flashed, and the atomic nucleus split.

To create means to search, transform, create, shorten the path to more complete domination over nature. How many famous names have immortalized creativity. Of course, there will always be a society ahead in which the road is wider open for the development of the abilities and gifts of the individual. The main wealth of each country lies in the amount of intelligence, intellectual forces, educational and accumulated by the people. Before giving a general description of the creative process, it is necessary to briefly dwell on the characteristics of the human psyche in general, because many types of mental activity are involved in the creative process: creative imagination, thinking, various emotions, drives, volitional activity, and the worldview of the individual.

For a long time, the human psyche has been divided into three main areas: cognitive processes, feelings (efficiency) and volitional activity. In addition to thinking, the area of ​​cognitive processes includes education, representation and memory.

According to the latest views, the properties of memory depend on the ionic balance in nerve cells, changes in the protein in them and ribonucleic acid (RNA) molecules. Along with feelings in the narrow sense of the word, some researchers identify simpler types of effectiveness, which are called emotions. In volitional activity, he distinguishes between voluntary actions and movements. Giving a general description of the human psyche, we need to touch on consciousness.

Consciousness- this is the highest form of reflection of objective reality, the most perfect type of mental activity that a person is capable of at the moment. It is a function of "... that particularly complex piece of matter called the human brain." Conscious, voluntary mental processes usually include logical (discursive) thinking, purposeful actions, active influence, and voluntary memories. Subconscious involuntary mental processes comprise intuitive thinking, instincts and drives, dreams, imagination, passive attention, involuntary memories.

What is the creative process? Creativity is an activity in which a person creates new material and spiritual values. Any creative work is the embodiment of the creator's plan. It always contains elements of novelty and surprise, always whole and unified. The mind, will and feelings take part in the creative act to approximately equal extent. In its most characteristic features, the creative process is uniform, no matter in what area it occurs. But, nevertheless, in science and art it has some differences that need to be briefly discussed.

Art- This is a figurative reflection of reality. In the process of such display, the artist, through his personal perception, gives one or another assessment of phenomena and highlights what is typical for a given historical moment. In works of art, the artist conveys his feelings, emotions, experiences, and attitude towards the depicted object.

Unlike art, science, when cognizing reality, uses abstract concepts to a greater extent, making various abstractions and generalizations and trying to grasp the patterns that nature and society obey. Typically, there are three stages in the creative process: inspiration, imagination, emergence of an idea; logical processing of an idea using generalization and abstraction; the actual execution of the creative concept.

Let us dwell in more detail on the characteristics of the above stages of the creative process. As is known, along with logical, or discursive, thinking, many also recognize the existence of intuitive thinking, or intuition. Both types of thinking are involved in the creative process - intuitive and logical.

At the first stage of creativity, subconscious mental activity and intuitive thinking predominate, while at the second and third stages of creativity, logical thinking and conscious volitional effort occupy the main place. The final step is to monitor the findings through observations and experiments.

Intuitive thinking, or intuition(immediate instinct, insight), presupposes imagination, creative imagination, conjecture. Intuitive thinking is immediate and visual in nature and does without certain, distinct concepts, while discursive (logical) thinking is characterized by the formation of concepts and conclusions based on logical conclusions, the consistent combination of certain judgments. Intuition arises from a stock of impressions that have not yet been formalized by consciousness, not embodied in a thought or image. Intuition is a type of mental activity that is close in nature to the thought process that I. P. Pavlov called imaginative emotional thinking and associated primarily with the activity of the first signaling system.

As for the imagination, or fantasies, This means forms of mental activity in which a change or transformation of certain ideas occurs. In other words, imagination - This is the ability to recall certain components from a wealth of memories and create new mental formations from them.

Under certain conditions, fantasy can become creative, that is, enter as an important component in the creative act. The mind's approach to things allows for the possibility of fantasy departing from life. Fantasy is a quality of the greatest value, and it is absurd to deny the role of fantasy in the most rigorous science. Even in mathematics it is needed, even the discovery of differential and integral calculus would be impossible without the participation of imagination.

However, imagination is only completely free when we are removed from real events, when we are at a certain “spiritual distance” from them. Excessive proximity to them binds our thoughts and extinguishes our imagination.

Imagination plays an important role in the creative process. There is even an opinion that the extraordinary power of fantasy is a companion to genius. But, of course, imagination alone, even exceptional in its richness, is completely insufficient to create full-fledged creative products. The outstanding Russian director and actor K. S. Stanislavsky deeply believed in the possibility of developing creative imagination. In his opinion, only as an exception an imaginary picture is created intuitively. Usually, in order to stir the imagination, you have to suggest certain topics for dreams and ask a series of questions: who? When? Why? For what? etc.

Along with imagination, feelings and emotions occupy a very important place in any creative act.

When they talk about emotions, they mean a person’s emotional experiences, his worries, joy, grief, feelings of admiration and anger, love and hatred. Emotions occupy a significant place in a person’s life, characterize his reaction to the surrounding reality, show his internal state, and influence creativity, recreation, and health.

It is impossible to dispassionately create something new, it is impossible to achieve significant results in any kind of work without emotional inspiration, which has never happened without emotions, there is no and cannot be a human search for truth. As you know, Lev Nikolaevich Tolstoy based his theory of art on feelings and emotions. Ivan Petrovich Pavlov in his famous “Letter to Youth,” listing the main qualities of a scientist, writes: “The third is passion. Remember that science demands from a person his entire life. And if you had two lives, then you wouldn’t have them either.” "It's enough for you. Be passionate in your quest."

Ivan Petrovich Pavlov believed that a scientist needs freedom of imagination, the opportunity to freely “spread the fan of his imagination.” It is especially important for a scientist to be independent in his work from established traditions, from developed approaches to resolving this or that issue, to be free from various kinds of preconceived ideas, prejudices, etc. An erudite scientist who carries a heavy load of knowledge and is bound by points of view who restrict the freedom of his creativity, he can often make fewer discoveries than an amateur (a person who only superficially knows any field of science), but is internally more free and independent.

When Albert Einstein was asked how discoveries are made, he replied: “Everyone knows that it is impossible, but only one person does not know this. So it is he who makes a great discovery.” Often discoveries are made at the intersection of sciences, which is explained not only by the fact that the scientist finds a new area of ​​research, but also by the fact that he is not bound in his work by the usual approaches and points of view. You need to not be afraid of what others say or your own judgments. On the creative path there are often unexpected obstacles that seem insurmountable to the researcher for some time. And only a new guess, a new train of thought takes him out of the impasse and opens the way to further creative success. “Unfortunately,” writes I.M. Sechenov, “in life, as in science, almost every goal is achieved in a roundabout way, and the direct road to it becomes clear to the mind only when the goal has already been achieved.”

In science, continuity and the use of the experience and knowledge of previous generations are necessary. Universal labor is every scientific work, every discovery, every invention, and that all this is determined partly by the cooperation of contemporaries and partly by the use of the labor of predecessors.

Summarizing the above, we can conclude that imagination, emotions and drives are of great importance for creativity, especially for its first stage (creative concept, creation of an idea for a work). The role of other important factors in the creative process in general and in scientific creativity especially should be taken into account: focusing attention on a specific topic, accumulating and systematizing observations, the process of generalization and drawing conclusions. Let us dwell on the importance of spiritual concentration and concentration on a specific topic for success in creative work.

Scientific creativity has its own characteristics, since it strives to a greater extent to establish the reliability of the original factual materials and their subsequent control. In science, the research method, the creation of a scientific hypothesis, knowledge of literary sources, scientific schools, etc. are very important. But before moving on to characterize the features of scientific creativity, it is necessary to define the concept of science, find out its meaning and consider the basic methods.

Science is a general spiritual product of social development.

Science is a historically established and continuously developing system of knowledge on the basis of social practice about nature, society and thinking, about the objective laws of their development. It moves forward along with the development of society, cognizing reality more and more accurately and deeply. Pavlov defines science as a tool for a person’s orientation in the world around him and in himself.

The truth of scientific conclusions is directly or indirectly verified by practice. Judgments that cannot be verified through observations and experiments have no scientific significance. Practice, posing a wide variety of tasks for science, leads to the emergence of certain branches of knowledge. But it is not always possible to foresee the practical significance of some discoveries. In the beginning, many of the greatest discoveries were purely theoretical. For example, cytoplasmic male sterility was discovered in the 30s in the USSR by Mikhail Ivanovich Khadzhinov, and then in the USA by M. Rhodes; nucleic acids as a component of the cell nuclei of purulent microbes were discovered by the Swiss scientist Miescher in 1869-1870. Both discoveries acquired practical significance only in the 20th century.

In science, method is of utmost importance. Pavlov wrote: Method is the very first basic thing. The seriousness of the research depends on the method, on the method of action. It's all about good method.

From a general point of view, method - a way of approaching reality, a way of understanding natural phenomena and social life. From a Marxist point of view, the method is an explanation of universal connections in nature, consideration of the phenomena of reality in their movement, development, and change. Thus, the scientific method consists of a combination of techniques for accumulating reliable facts with checking their compliance with the proposed generalizations.

No scientific knowledge is possible without the original factual material, its systematic accumulation. But facts alone do not constitute science; the method by which they are collected is important, and the theories that form their basis are important. D.I. Mendeleev pointed out that one collection of facts, even a very extensive one, one accumulation of them, even a disinterested one, does not yet provide the opportunity to master science, and the facts themselves do not provide either guarantee for further successes, or even the right to the name of science in the highest sense. The building of science requires not only material, but also a plan of harmony. Thus, science is impossible without the presence of systematized research methods and theories, because only they allow, on the one hand, to establish relationships between facts, and on the other, to manage them, that is, to find application for them in practice. At the same time, it is extremely important that the scientific attitude to facts excludes any admiration for authorities. The cult of personality in science is completely unacceptable, because it leads it to a state of stagnation and decline.

Science must see problems and find appropriate solutions to them. It should be noted that it is incomparably more difficult to see a problem than to find its solution. For the first requires imagination, and the second only skill.

Science is forced to be satisfied with relative, approximate knowledge, probability, but as scientific knowledge progresses, our ideas about reality become more and more accurate and perfect. Dialectical materialism recognizes the relativity of all our knowledge not in the sense of denying truth, but only in the sense that at every moment it is impossible to know it completely, completely. As you know, the main methods of knowledge are actually observation and experiment.

Observations must be carried out patiently, systematically and impartially. Great natural scientists (Darwin, Pasteur, Pavlov, etc.) provide us with exceptional examples of this type of observation.

The advantage of an experiment over observation is that the experiment includes an active influence, a purposeful change in natural conditions, which makes it easier to determine the significance of one or another factor in the phenomenon being studied. According to Pavlov, observation collects what nature offers it, while experience takes from nature what the experimenter wants. He was deeply convinced that the experimental method was designed to reveal the hidden secrets of nature, to clarify the processes occurring in a living organism.

However, the task of science is not only to explain phenomena and factors, but also to predict future events. A wonderful prophecy is a fairy tale. But scientific prophecy is a fact. There are many examples of scientific foresight in various fields of knowledge.

Having considered the question of what science is and what are its methods, let us return to scientific creativity, without which science itself could not have arisen and its further development would have been impossible.

According to K. A. Timiryazev, fruitful scientific thought has three stages:

guessing the truth;

logical development of creative thought in all its consequences;

testing conclusions through observation and experience.

As is already known, the first stage of creativity - guesswork, the birth of a plan, the creation of a new idea - is largely subconscious and involuntary in nature, however, a number of conditions are known that favor or, conversely, hinder the creative process. Let's consider these conditions, because knowing them, you can consciously resort to certain techniques in order to promote the successful development of the creative process.

For a long time, researchers have drawn attention to the fact that many discoveries were made completely by accident when observing any phenomena of the surrounding reality. For example, Newton (1643-1727) first thought about universal gravitation when he was lying in the garden and saw an apple falling. Chance also played an important role in some of Darwin's discoveries. The starting point for his evolutionary theory was the surprise he experienced when he dug up a fragment of a fossilized giant armadillo that looked like it was alive. One thought arose in his head: there may be a relationship between animals that once disappeared and those that live at the present time. All his further research proceeded from this angle. He looked for facts that could explain the similarities.

It was also by chance that Pasteur (1822-1895) made his greatest discovery - the possibility of weakening the virus and obtaining artificial immunity. Once Pasteur, wanting to inoculate a chicken with cholera and not having a fresh culture at hand, took one that had stood for some time in a test tube covered with cotton wool. The vaccinated virus turned out to be no longer fatal: the chicken got sick and recovered.

In all such discoveries made by chance, direct observation of certain natural phenomena and their new and fresh perception are of exceptional importance. But you need to work long and hard in a certain direction in order to be able to draw a conclusion from observations. The famous French mathematician Lagrange said this beautifully: “In the case of great discoveries, chance comes upon those who deserve it.” In other words, in the field of observation, happy accidents fall to the lot of “prepared minds.”

During the period of creativity, our consciousness must be free from unnecessary, irrelevant ideas in order to completely concentrate thought on one subject. “The spark of scientific creativity,” writes Pavel Aleksandrov, “breaks out only when interest in a given issue, even if it is very special and far from everyday life, reaches that critical level at which a person can no longer not deal with this issue, when the question itself and the desire to solve it completely takes possession of him."

At one scientific conference, Ivan Petrovich Pavlov posed a big question to himself and those present: should one keep all acquired knowledge in one’s head or, following the example of the famous English physicist William Ramsay, abandon it and think as if knowing nothing, so that thought becomes free? Pavlov came to the conclusion that, despite the exceptional importance of maintaining freedom of thought, it is necessary to have certain knowledge in order not to experience unnecessary difficulties, not to repeat issues that have already been resolved, and, as they say, not to discover America.

However, knowledge itself can be divided into two types according to its value:

I - knowledge that represents an original product
researcher's thinking;

II - those that are passive in nature, since they are not subject to mental processing either at the time of their acquisition or in the future, but are stored in memory as a known stock of information.

Knowledge is then effective when it becomes an organic part of our self, when it leads to the mastery of certain techniques necessary to perform an action.

There can be no real knowledge without the ability to identify the most important, the most significant and important in a phenomenon. Any knowledge is a product of the activity of the mind, and the deeper the thought, the more significant the knowledge that a person acquires. Only mental activity is capable of organizing ideas, uniting them according to a certain plan, and giving them coherence. You can know a lot, but not understand what you know. Understanding is achieved through conscious willpower and is not the result of mere memorization. I.P. Pavlov believed that without a good knowledge of specialized literature it is impossible for a modern scientist to work. But the role of a book for scientific creativity cannot be reduced only to the acquisition of necessary knowledge. A book can lead to a new discovery; it influences not only a person’s thought process, but also his personality, ideals, views, etc.

It should be remembered that insightful understanding, freedom and independence of thought in approaching certain phenomena of reality are the most important conditions for creativity. It is necessary to combine a living imagination with a critical activity of the mind: this is the only key to success in any type of creativity.

The role of distractions of thought and logical processing immediately comes to the fore, as soon as a guess, a creative idea based on experiments, turns into a scientifically based assumption, or hypothesis.

A hypothesis is a very important stage in scientific creativity. It makes events understandable, and sometimes even predicts their occurrence. Scientific hypotheses open the way to further research and lead to the discovery of new facts and new laws. One of the greatest German naturalists, Hermann Ludwig Helmholtz, argued that when a consequence is derived from a general correct principle for individual cases of its application, they constantly come across astonishing results that were not expected.

Any scientific theory provides such generalizations and abstractions that are consistent with experience and are able to predict new phenomena and events. The correctness of a hypothesis or theory is determined by how well it agrees with subsequent observations. Even the newest hypothesis must have continuity with respect to past scientific experience and be consistent with other general principles of science.

In the creative process there is a constant struggle between two tendencies; old and new, imitation and innovation. An old view defends its right to exist, a new fact requires its revision, and a scientific problem arises from the conflict. But nothing can be deified; nothing, even the most excellent hypotheses and theories, can be used to create a fetish.

In many cases, scientific hypotheses are only working plans that should be changed depending on the results of experiment.

There are no eternal hypotheses in science. It always happens that some facts arising from a theory are refuted by further observations and experiments. The theory, after its heyday, can be refuted. But usually a new theory is born on the ruins of the old one, as an attempt to find a way out of the difficulties that have arisen. The famous English physicist M. Faraday wrote about the role of hypotheses and theories in science that the guess and theories that arise in the mind of the researcher are destroyed by his own criticism and are realized, reaching barely a tenth of all his assumptions and hopes. A scientist should not have favorite theories, schools, teachers: one truth should be his goal. Why? Yes, because a hypothesis is a temporary explanation of observed phenomena, and it must be abolished as soon as further observations begin to contradict it.

Only systematic and long-term testing of hypotheses and theories with the help of observations and experiments can serve as a real guarantee that they have become rules and laws that allow not only to master the course of current events, but also to anticipate their future changes.

In his famous “Letter to Youth,” Pavlov wrote: “Never try to cover up the shortcomings of your knowledge, even with the most daring guesses and hypotheses. Study, compare, accumulate facts. No matter how perfect a bird’s wing is, it could never lift it up, without relying on air. Facts are the air of a scientist. Without them, you will never be able to take off. Without them, your “theories” are empty attempts. But while studying, experimenting, observing, try not to stay at the surface of the facts. Try to penetrate the mystery of their origin. Persistently seek the laws that govern them."

This letter outlines with utmost clarity the role of facts and theories in the construction of science. Without facts, it is impossible to create real theories, and without well-tested theories, i.e., laws, science cannot exist.

Dmitry Ivanovich Mendeleev believed that it is better to adhere to such a hypothesis, which over time will turn out to be incorrect, than not to have any; the obtained facts should be subjected to special and repeated control, because they may have unequal value and reliability.

An even greater source of possible errors is associated with the fact that the reflection by our consciousness of objects, events and phenomena of the reality around us is not reduced to a simple registration of facts.

As is known, perception is a very complex process in which both direct sensory reflection of objects and phenomena occurs, as well as their recognition, their initial grouping and evaluation, and finally, their full understanding is achieved. In addition, the course of perception is influenced by the character of the individual, prevailing views and interests, and various kinds of emotions. Therefore, it is not surprising that both in life and in science one has to encounter unreliable and even imaginary facts. In the presence of religious beliefs and fanatical ideas, entire groups can become victims of involuntary delusions. L. Pasteur called for every researcher to be guided only by facts established by experience and to be careful in his conclusions. Pavlov also strongly recommended to have more doubts about the results obtained and to carry out more control experiments. But it should be noted that a completely different attitude than towards unreliable and dubious facts should be towards facts that contradict each other.

When considering the characteristic features of scientific creativity, it is necessary to critically analyze the researcher’s thinking itself and point out the typical qualities of the scientific mindset in general. The very first and mandatory requirement that must be presented to him is the achievement of the maturity of thought characteristic of logical (discursive) thinking. The greatest indiscipline of the mind is to believe in something just because you want it to be one way and not another.

The ability to reflect on one’s work, to see its prospects, to predict the result is an invariable condition for successful creativity: I. Ya. Berzelius pointed out that a scientist should never try to make a conviction where there is only probability. For whoever passes off probability as truth, consciously or unconsciously becomes a deceiver.

Each researcher sets himself the task of finding the correct and economical ways for the most fruitful generalizations and conclusions. First of all, you must strive for clarity of thought. According to one of the “rules for the guidance of the mind”, which were proclaimed by the French philosopher, mathematician and physicist Rene Descartes, one must make calculations so perfect, the conclusion so concise and clear, that they are immediately perceived.

Another equally important quality of mind needed by a scientific researcher is simplicity of thought and solutions to certain issues. The real mind does not sneak along a dark crooked alley, it openly walks along a smooth and straight path. The talent for finding the simplest in the most complex is the most important quality of the mind of a true scientist. There is hardly any doubt that the greatest effort of the mind is required during its synthetic and analytical activities. Synthesis and analysis are the most important mental operations that a person uses at every step of his activity. In synthesis, thinking, based on two specific phenomena (facts), establishes an internal relationship between them and thus arrives at a higher generalization. Synthesis allows you to create something whole, unified from particulars.

Analysis allows you to break the whole into parts. In analysis, thinking, taking a separate phenomenon as a starting point, goes back to its original general provisions, abstracting from a number of details.

In accordance with the predominance of analytical or synthetic mental activity, two types of inferences are distinguished; in one case, the judgment goes from the general to the particular (deduction); in the second - on the contrary, from the particular to the general (induction). Usually a person in the process of all types of cognition uses both forms of mental activity.

The creative process at the first stage of its development is always synthetic in nature, while analysis is mainly necessary for the logical processing of an existing idea.

In any phenomenon, it is necessary to highlight the most important thing, the main thing, and at the same time we must not forget about some details that at first glance are not directly related to the topic of research. Sometimes one, even insignificant, detail of an experience determines its fate and gives the whole research a completely different direction.

It is, of course, impossible to determine all the conditions that are required for fruitful scientific work. Yes, this is not necessary. It is important to grasp the most characteristic properties of the scientific mindset and make every effort to develop them in yourself. Here, as in other matters, theory cannot be separated from practice. Many important aspects of creativity are best captured in the process of mastering the techniques of scientific work.

Let us take for example such a simple and at the same time very important matter as preserving known ideas and facts for scientific work. Considering that our memory is imperfect, and thoughts and ideas can be forgotten temporarily or forever, you cannot trust your memory; you need to write down every valuable thought immediately when it appears.

It is equally important to accurately record and systematize

factual material intended for scientific processing. Registration and systematization techniques may vary depending on the individual characteristics of the researcher, but it is impossible to do without them. Many scientists systematically make extracts from books, accumulating in advance interesting facts and thoughts that they may need in future work.

Dmitry Andreevich Kislovsky pointed out that “a livestock specialist should not forget that all zootechnical practice is a huge collective experiment in the directed change of domesticated animals in the direction necessary for humans. A correct methodological analysis of this material should greatly help in setting up further experiments.” Therefore, the correct organization of zootechnical accounting gives grounds for the livestock specialist to use it to solve a whole range of zootechnical issues that relate to a given herd, farm, or holding.

In the practical solution of issues of increasing animal productivity on collective and state farms, all agricultural production specialists, mainly livestock engineers and farm livestock specialists, play a major role.

You can say this about animal husbandry: From the outside, this business seems rough - caring for livestock in the yard, but in reality it is a very delicate matter. No other branch of work, with the exception of human care, requires such attention and love for work as in animal husbandry.

In order to properly use animals and get more products from them, you need to perfectly know the methods of their breeding, methods of feeding, housing and care.

Each specialist in this industry has to solve important issues related to the economics and organization of livestock farming, feed production, mechanization of processes on farms, as well as processing of livestock products.

Therefore, the daily work of a zoo engineer on a farm is extremely varied and meaningful. The success of the development of public livestock farming, the growth of its productivity and the general increase in the profitability of the farm depend on how correctly and with a sense of business the animal engineer organizes work on the farm.

The work of a livestock engineer on a farm is extremely interesting. In his daily activities he deals with a living organism. By observing him, experimenting and selecting favorable conditions for feeding, housing and care, as well as using the best methods of selection and selection from breeding, he improves existing groups of animals. No branch of agricultural knowledge affects the life of the most complex living organism as widely and deeply as animal science. This is her interest and fascination. On a state or collective farm, the animal engineer is the organizer and leader of all livestock farming and related industries. The specialist is called upon to be a prudent and thoughtful owner of this complex branch of agricultural production. Producing additional quantities of meat, milk, eggs, wool and other products on the farm is a contribution to the common cause of improving the material well-being of workers.