5. Development of creative potential

Since it is up to man to solve inventive problems, G. S. Altshuller developed not only the algorithm and methodology that contributed to this, but also paid due attention to TRIZ to the issues of improving creative abilities.

The development of creative potential, imagination and creativity of an individual and a collective is a separate direction, which is explored within the framework of the Theory of Inventive Problem Solving. In general, this problem is considered by our site in a separate training "Creative thinking". In this lesson, only TRIZ-technologies for the development of the creative potential of the individual, groups, children, students and teachers are described.

Content

1. Pedagogy TRIZ
2. Methods for the development of creative imagination
3. Theory of Creative Personality Development
4. Theory of the development of creative teams
5. Verification test

Pedagogy TRIZ

G.S. Altshuller called for “teaching creativity.” He saw the task of TRIZ pedagogy not only in training a narrow circle of specialists who need it in the first place, but also in creating a new pedagogical concept. According to her, starting from kindergarten, it is necessary to educate a creative person who is capable of solving complex inventive problems in the future. Modern goals of TRIZ pedagogy are more specific:

• Development of the need for cognition of the surrounding world;
• Formation of systemic dialectic thinking;
• Education of the qualities of a creative personality based on the theory of the development of a creative personality (TRTL);
• Facilitating the development of skills for self-acquisition of information and work with it.

At the same time, it is obvious that the general concept of the development of creativity and the upbringing of a person prepared for solving open (creative, heuristic, life) tasks remains.

As a scientific direction TRIZ pedagogy was formed in the late 80s. last century, but the methodical search and development continues to this day. If we talk about the start of the direction, it was given by the fantastic story of G.S. Altshuller “The Third Millennium”, in which it is presented how the training will be conducted in the near future. We gave a summary of the principles contained in this work when we talked about the areas of use of TRIZ.

Initially, TRIZ pedagogy was entirely dependent on the needs of teaching the theory itself. But over time, she emerged as an independent area, which today is one of the most developing. Since 1998, conferences devoted to TRIZ pedagogy are held annually in Chelyabinsk, where the latest developments in the industry are presented, and teachers and all those interested in sharing their experiences. A printed compendium “Pedagogy + TRIZ” was published, later the materials began to be published on specialized sites on the Internet. Today, to help teachers and everyone who wants to learn TRIZ, special materials have been collected, organized as card files and collections of tasks. Anyone can apply them in their practice, since the range of topics varies from physics to art.

The integration of TRIZ methods into the educational process most often follows the path of association with classical methods. In some schools, the development of creative imagination (PTB) is taught to children of preschool and primary school age as a separate subject. Methods and algorithms of TRIZ are studied by older students as elective courses. In general, if we talk about educating a creative person on the basis of TRIZ, we can distinguish 2 directions:

• The theory of creative personality development (TRTL) was developed by G. S. Altshuller and I. M. Vertkin. It includes the analysis of the basic concepts of creative personality development, life strategy development (GSTL-3) and the ideal creative strategy (“maximum movement up”), as well as a set of practical materials (business games, task books, card files) for educating the qualities necessary for a creative person .
• The theory of the development of creative teams was developed by B. Zlotin, A. Zusman and L. Kaplan. They identified the stages and cycles of development of creative teams, the patterns of their functioning, the mechanisms of inhibition and the development of teams, and on the basis of this they outlined the principles of preventing stagnation in the team.

Read more about them below.

Methods for the development of creative imagination

“In my second specialty, I am a science fiction writer. Perhaps, this circumstance helped to “wipe” at the development of the RTV course. ” In 1966, G. S. Altshuller, introducing students to TRIZ, at the Institute of Mathematics of the Siberian Branch of the USSR Academy of Sciences for the first time included in the seminar a short course on the development of creative imagination. Twenty years later, at a seminar in Novosibirsk, a third of the time was allotted to this topic.

Together with Altshuller, P. Amnuel, a physicist and science fiction writer, worked on RTV. It all began, as in the case of TRIZ, with the identification of patterns of science fiction ideas. In particular, it was noted that the development of NF-ideas is subject to objectively existing laws; You can identify these laws and use them to consciously generate new ideas. This served as a basis for the further development of the theme of the development of the imagination of the inventor.

Further work, the discovery of other methods and techniques significantly diversified PTB and it took an important place in the TRIZ system. Heinrich Saulovich wrote: “To clarify the role and importance of the RTV course in teaching technical creativity can be a simple analogy: the RTV course is like gymnastics for an athlete. With any sport specialization gymnastics is absolutely necessary for all athletes. Similarly, the solution of any creative tasks - scientific, technical, artistic, organizational - depends largely on the ability to "work with imagination."

Today, methods of developing creative imagination, as a set of techniques and special methods of fantasy, are designed to reduce the psychological inertia that arises when solving creative problems. The main ones are:

• The use of science fiction literature (NFL) in the development of creative imagination. The predictive functions of science fiction literature;
• RVS operator (parametric operator);
• Method of modeling "little men" (MMC);
• Fanograms;
• The method of goldfish (the method of decomposition and synthesis of fantastic ideas);
• Step design;
• Association method;
• Trend method;
• The method of hidden properties of the object;
• View from the outside;
• Change of value system;
• Situational tasks;
• Techniques of fantasy (techniques for generating fantastic ideas);
• The scale of evaluation of the NF-ideas "Fantasia-2";
• The system of exercises for the development of creative imagination (PTB).

More about some of these methods.

The method of focal objects (MFO) - transfer properties of one or more objects to another. Another definition of an MFI is the method of searching for new ideas by attaching properties or attributes of random objects to the original object. Designed by the University of Berlin Professor E. Kunze, and modernized by the American C. Weiting. The essence of the method consists in transferring the attributes of randomly selected objects to the object being improved, which lies in the focus of transfer and is therefore called focal. The resulting modifications develop associations, which activates the associative thinking of the creator. Based on the received original solutions, the original object is improved. It is used in many areas: pedagogy, management, marketing, etc.

Algorithm of work on MFIs (according to N. Kozyreva):

1. 4-5 random objects are selected (from a dictionary, a book ...).
2. Lists of the characteristic properties, functions and attributes of random objects are made (5-6 interesting words - adjectives, adverbs, verbs).
3. The focal object is selected - the thought is focused on it.
4. Signs of random objects are alternately attached to the focal object and recorded.
5. All resulting combinations are developed by free association.
6. The options obtained are evaluated and the most interesting and effective solutions are selected.

With external simplicity and universality of the method, its weak points are unsuitability for solving complex problems and lack of clarity in the selection of criteria for evaluating the ideas received.

Read more about the method here.

Methodology MMC (modeling by little men) - modeling of the processes occurring in the natural and man-made world between substances. It is one of the methods for solving the simplest contradictions. It is also known for its use in its practice by the British physicist J. Maxwell.

The method is based on the observation that solving many problems is easier if they are represented as a model. This is the essence of the MMP: the object under study is depicted as a set of interacting little men. This model retains the advantages of empathy (clarity, simplicity) and does not have its inherent drawbacks (the indivisibility of the human body). The technique of applying the method is reduced to the following operations:

• It is necessary to select a part of the object that cannot fulfill the requirements of the task and present this part in the form of little men.
• Divide people into groups acting (moving) on ​​the conditions of the problem.
• The resulting model must be considered and restructured so that conflicting actions are performed.

Read more about the method here.

The operator PBC - a tool for managing psychological factors. It was developed by Altshuller since the 1950s. The essence of this method is in avoiding habitual, stereotyped thinking. This technique is not intended for the final solution of the problem. The purpose of using RVS, in modern terms, is to get rid of stereotypes, to go beyond the usual framework.

Under the acronym RVS hide three parameters: size, time, cost. The algorithm for this method is as follows:

1. The source object is selected.
2. Three of its quantitative characteristics (parameters) are distinguished: size, time, and cost.
3. The initial values ​​of these parameters are determined.
4. Analyzed are the changes in the values ​​of the selected parameters for each P, B, C:

• 1) P - (∞): increase the size of the object to infinity;
• 2) P - 0: reducing the size of the object to zero;
• 3) B - (∞): an increase in the duration of the action of an object or on an object to infinity;
• 4) B - 0: decrease the time of action to zero;
• 5) C - (∞): an increase in the value of the object to infinity;
• 6) C - 0: reduction of the value of the object to zero.

Conducting this procedure allows you to take a fresh look at the initial problem situation and set yourself up to a non-obvious, effective solution. Detailed description of the method in the source.

Consideration of other techniques and theories is beyond the scope of this lesson. The development of creative abilities is devoted to an independent section of our site: “Creative thinking”. As part of this course, we recommend that you go through a special exercise to train your imagination:

Theory of Creative Personality Development

The method as a tool does not work by itself, it only helps a person to work. TRIZ offers the researcher a whole range of such tools, but how successful it will be used depends only on the properties and qualities of the inventor. In this matter one cannot rely on natural talents and even less so by chance. Therefore, within the framework of the theory of solving inventive problems, there is a separate section - the theory of development of a creative personality (TRTL), whose task is to prepare the creator himself.

TRTL was the last major work of G. S. Altshuller, written together with his pupil I. M. Vertkin. To formalize the theory, they analyzed a huge array of information, studying the biographies of a large number of famous figures. On the basis of this, GSTL was born - the life strategy of a creative person, because the authors were confident that it was necessary to work on improving their creative skills all their lives. GSTL-1 and GSTL-2, which appeared in 1985 and 1986, respectively, were incomplete, but the 1988 modification - GSTL-3 - can already be considered an independent theory.

ZHSTL-3 is revealed through the Game - a person striving for development is forced to play, to join the fight against opponents - external and internal factors. The strategy gives direction and describes the typical steps in this game, allowing to win. The description of these steps, and there are 88 of them, is quite voluminous to cite it in this lesson, therefore, anyone who is interested in the strategy of developing a creative person, we recommend reading the book “How to become a genius. The life strategy of a creative person "on an external resource.

But on the 6 qualities necessary for a creative person we will dwell in more detail. They were identified by I. M. Vertkin:

1. A worthy goal. Not achieved by others, significant, useful. Only the realization that your path is unique and will lead to something new, pushes and motivates to work in a given direction.
2. Plans It is necessary to formulate a set of real work plans to achieve the goal and regularly monitor their implementation in order to understand at the expense of what and how it will be achieved. We wrote about one of the options for drawing up a similar plan before.
3. Performance To achieve the goal and complete the plan you need to work a lot. Remember T. Edison, who slept for 4 hours, and spent the rest of his time working. Another excellent example is J. Verne, who left, as his epistolary heritage, in addition to his works, 30 thousand notebooks with encyclopedic entries. The collection of scientific information was his hobby and help in writing. Not surprisingly, many of his fantastic ideas were later brought to life.
4. Technique of problem solving. Each inventor has its own. Altshuller systematized the experience and suggested TRIZ, but even before that, many scientists had successfully dealt with contradictions.
5. The ability to "take a punch." The most valuable skill that teaches not to give up on the way to the goal. T. Ford until late at night worked on his first car after returning from work at the factory. The same T. Edison spent about 10 thousand experiments while he received a working prototype of a light bulb.
6. Performance. If previous qualities are present, then at the intermediate stages a person should see the result. If it is not there, the concept needs to be revised - maybe the goal is chosen incorrectly, or the plan does not allow it to be achieved.

Theory of the development of creative teams

Altshuller's followers became interested in the development of not only a creative personality, but also associations of people - groups and groups. In relation to them, a theory of the development of creative groups was developed. In the works that formed its basis, the concept of “scientific team” is most often encountered, although the authors, B. L. Zlotin and A. V. Zusman, claim that they analyzed various groups — from family to society.

The principles of the theory of the development of creative groups are described in detail in the books “The Foundations of the Theory of the Development of Collectives” and “Solution of Research Tasks”. Using the materials of the latter, we only briefly analyze some important points.

Scientific teams go through certain stages of development:

Stage 1. The emergence of ideas. The development of any team comes from the creation of ideas, discoveries. Gradually, a small group of like-minded people, encouraged by enthusiasm, gather around the author. At this stage, the task facing the team is to communicate their views to the scientific community and their adoption. This process is not always easy, because new ideas can go against already accepted ideas, and, as a result, hurt the interests of other, stronger teams. In such a period, the team rests on informal, personal connections and the authority of the leader.

Stage 2. Recognition. When the idea receives official recognition and public support, the second stage of the development of the collective begins. A formal structure is being created - a laboratory, a department, a scientific association. There is an official manager and staffing. Work receives funding, and from this point on a powerful factor of development is included - positive feedback; increased funding - increased number of people - increased returns - increased funding, etc. Competition appears, the first braking factors arise associated with the difficulties of fast mobilization of resources and training people.

Stage 3. Slowing down of development. The team continues to grow, publications are being published, reports are being written, scientific products are being produced, dissertations are being defended, but all this requires more and more funds with more and more modest results. The development factor remains the same - the growing need of society, and the drag factor - the exhaustion of the development resources of this theory, concept, paradigm. This is an objective phenomenon. The main contradiction of the third stage: the interests of the collective and society diverge, but, in contrast to the first stage, now the goals of society are progressive - it needs development, even at the cost of complete reorganization or disbandment of this team, and the goals of the team are reactionary - it seeks to slow down development that is dangerous for itself.

Braking mechanisms

The analysis of the third stage of the development of collectives makes it possible to identify specific mechanisms of inhibition, which is very important in a way that can help in the fight against them. Here are some of them:

• The cult of hierarchical pyramids. A scientist, an expert from a free thinker turns into the lower link of a multistage hierarchical pyramid.
• Stabilization hierarchy. The introduction of "senior" honors. Great experience in one place turns into the best characterization of a team member. The introduction of restrictions on the influx of youth, to occupy certain positions in the hierarchy of young.
• Delegation of authority "up". The right to make decisions is transferred from the natural level (the stage where the problem occurred) one or two steps upwards in the hierarchy. This ensures the strengthening of the apparatus, but leads to its overload with minor problems, which a single manager cannot physically solve.
• Creating the illusion of the omnipotence of the apparatus. Long-term lies, artificial evaluation criteria create the illusion of success of all the endeavors of the apparatus. A voluntaristic management style, neglect of the economy, a serious study of issues, the search for alternative ways are being developed.
• Punishability initiative. The punishment for a mistake becomes great, and for inaction is not punished. Any action becomes much more dangerous than inaction, therefore it is inhibited. Methods of "non-decision making" are known: perepasovka in different services, red tape, etc.

Anti-inhibition mechanisms

Несмотря на нежелание структуры меняться, история показывает, что рано или поздно дальнейшая эволюция приходит на смену застою. Чтобы преодолеть негативные факторы (торможение), принимаются следующие меры:

1. Принятие решений на естественном уровне – там, где проблема возникла.
2. Разукрупнение подразделений до уровня, когда каждый член коллектива может увидеть свой вклад в конечный результат.
3. Соблюдение принципа оплаты по результатам труда.
4. Постановка перед коллективом единой большой общественно-полезной цели, с которой увязаны личные интересы каждого члена коллектива.
5. Воспитание у каждого члена коллектива чувства значимости, создание атмосферы дружбы и творчества.

This lesson presents the theoretical aspects of the methods of developing a creative personality, developed and organically incorporated into the structure of TRIZ. To get a tangible result, you need to practice their application, in particular, solving open, creative tasks. Links to relevant materials can be found in the next lesson. Also useful for developing the skills of creativity will be passing special training on our website.