Formation of the creative vision of the person as a universal method of enhancing creativity

Markov S.L. Formation of the creative vision of the person as a universal method of enhancing creativity

The article discusses and classifies the main classical and modern methods of enhancing creativity. A new integrated model of creativity 4Ps / S (process, product, person, place, sense - process, product, personality, environment, meaning) is proposed, in which creative vision and sense-creation are understood as the highest form of creativity. A universal method of forming a creative vision is proposed, which can be in the form of creative training and a way to creatively solve problems.

Keywords: methods of enhancing creativity, model of creativity, creative vision, universal method, the formation of creative vision.

FORMULATION OF THE PROBLEM
In the modern world, which is characterized by dynamism, complexity and unexpectedness of problems, creativity becomes a key factor in the socio-economic development of society, and the problem of enhancing the creative potential of an individual acquires a particularly high importance and relevance.
At present, a wide range of effective methods of stimulating creative activity and creative solutions to problems are actively used in the practice of management and innovation. At the same time, many existing methods are based on identifying certain processes and mechanisms of creativity and are aimed at their awakening and activation. Each of these methods has its advantages and can be effectively used in certain unique conditions and in solving specific types of problems.
Today, there is a need to create a holistic method of awakening, revitalizing and developing the creative potential of an individual, which would allow to combine the most effective classical and modern methods of activating creativity into a multi-level, multi-phase, mutually agreed system. This method should be distinguished by the utmost universality and breadth of approach to a dynamic and unpredictable environment, as well as pragmatism, efficiency and focus on an ideal result.
The purpose of the article is a critical analysis of existing methods and techniques for enhancing the creative potential of an individual and developing on their basis an integral system for the formation of creative vision, as a universal method of enhancing creativity.

RESULTS OF THEORETICAL ANALYSIS OF THE PROBLEM
Creating a universal method of activating creativity requires solving two interrelated tasks: combining all existing methods of activization into a single, mutually agreed and flexible system that allows selectively using their strong attributes and advantages in real practical activities, as well as defining the basic, most generalized model of creativity, of some integrated form creative activity, which would serve as the object of activation.
One of the variants of the general classification, which would freely accommodate all existing methods of enhancing creative activity, is to reduce them to a specific three-component structure, which contains: 1. Basic methods (“three whales of enhancing creativity”). 2. Classical methods of enhancing creativity. 3. Special and modern methods of enhancing creativity and creative problem solving.
In this case, the basic methods of enhancing creativity include: “Brainstorming” (A. Osborne, 1939), “Morphological analysis” (F. Zwicky, 1942) and “Sinectic” (W. J. Gordon, 1952). In turn, the classical methods include such well-known methodical systems like the “Smart Card Method”, or “Mind Mapping” (T. Buzan), “Lateral Thinking” and “The Method of 6 Thinking Hats” (E. De Bono), of focal objects ”(C. Whiting) and“ Method of catalogs ”(F. Kunze). Separately, it is possible to single out a group of methods related to the art of generating heuristic questions: the methods of D. Poya, T. Eyloart, R. Crawford, D. Pearson, A. Osborn and “Kipling's method (5Ws / H)”. A number of methods of activation is based on the understanding of creativity as a process of generating and selecting images and associations: “The method of garlands of accidents and associations (G. Bush),“ The method of free associations ”,“ The method of analogies and metaphors ”,“ Metaphorical thinking ”(G. Morgan ). “Visual thinking (P. McKim) [2,7,9].

Special and modern methods of enhancing creativity include techniques aimed at creative analysis of the problems: “Method of inversion of problem” (C. Thompson), “Method of multiple reformulations (T. Rickards),“ Matrix of reframing ”(M. Morgan),“ Algorithm of relations ” (G. Krovits), “The method of collapsible matrices” (G. Simon), “Forced analogies” (R. Olson) and “Forced comparisons” (J. Wikoff), “The method of intensifying differences” (D. Breybrook, C. Lindblum ). A separate subgroup of methods consists of techniques aimed at activating the work of the subconscious: “Working with dreams and images” (D. Glauberman), Method “3B”, “Indirect strategies” (B. Anno, P. Schmidt), Method “Random stimuli”, The method of "Alternating activity of the left-right hemisphere." Finally, there is a group of methods based on the effective, operational, manipulative component of creative activity: “Edison Method”, “Trial and Error Method”, “Method of Manipulative Verbs”, “Scamper” (B. Eberl), “Transform” (D. Ayyan, D. Berg).
Among the holistic systems of activating creative potential, we can highlight: “Disney's Creative Strategy” (R. Dilts), “Universal wanderer” methods (D. Coberg, J. Bagnal), “Game Perception” (G. Left), “TRIZ” - Theory solving inventive problems (the Classic version (G.S. Altshuller) and modern modifications M.I. Meerovich, etc.) and the methodical system "KARUS" (combination, analogization, reconstruction, universal strategies, random substitutions strategy) V.A. Moliako [1, 2, 4, 5, 9].

As a universal way of activating the creative potential of an individual, which would combine an extremely broad approach to unexpected challenges of reality and maximum practicality and efficiency, the method of forming a creative vision of an individual can be. At present, the generalized model of creativity, 4 Ps (process, product, person, place), which unites four areas or dimensions of creativity — process, product, personality, and environment (M. Rhodes (1961), R. Mooney (1962), SE Golann (1963) [8].
The theory of 4Ps is constructed by generalizing empirical experience, in strict accordance with scientific criteria and principles of evidence and rationality. At the same time, the study of such a complex ontological phenomenon as creativity requires its consideration in the wider context of the life world of the personality and even in some configuration of contexts of phenomenological worlds. The maximum possible completeness of the description is achieved by constructing a specific topological construct - pentabase, which unites the objective and symbolic, internal and social worlds, as well as culture, as the center of their integration.
It is the basic laws of the functioning of the world of culture that determine the highest form of creativity - a creative vision that harmoniously includes and integrates all other forms of creativity.
So in the objective world it manifests itself as productive creative activity, in symbolic as a creative solution to problems, in social, as a creative dialogue, and in the inner world as creative self-realization. At the same time, the central, dynamic components of creative vision are the expression of the meaning of the word creativeness and the comprehension of reality. In this regard, to uncover the deep essence of creativity, it is advisable to introduce the fifth element, some key dimension of reality - meaning, which will allow us to present the classical model of creativity in the form - 4Ps / S (process, product, person, place, sense).
Thus, as the most generalized and highest form of creative activity, it is advisable to choose a creative vision of the personality of the world, which is a complex hierarchical system, including ideological and value attitudes, emotional attitude to the world, as well as an effective creative method, which is a multi-level system of transformation techniques and perfection of reality.
At the same time, creative vision is constituted by a structured stream of certain mental actions and operations, overcoming imaginary patterns and stereotypes and providing an opportunity to see all the richness of the connections of the surrounding world, the holographic depth of meanings and the true essences of things.
At the heart of a holistic creative vision lies creative interaction with the world, which has a complex, multi-level character, reflecting the universal structure of all holistic objects. This fundamental, end-to-end structure is reflected in the creative attitude of the individual, which includes the axiological, cognitive, affective and behavioral components, where the first component is not the level of the structure, but its main system-forming factor, core and center of the organization. Each of these components is manifested with the help of corresponding pairs of opposing, complementary mechanisms of creativity. So the axiological component of the creative position is realized with the help of a complementary pair of mechanisms of idealization - problematization, cognitive: decentration - simplization, emotional: identification - meditation, and behavioral: self-realization - personification.
Idealization is understood as a vision, search and disclosure of the ideal essence of an object, as a mental construction of its ideal image, in which the highest values ​​are harmoniously combined, key and most urgent contradictions are productively solved. This mechanism manifests itself as the formation and implementation of an ideal plan and super-task, the creation of bold hypotheses and the realization of an ideal end result. Problematization is the identification and aggravation of key object contradictions, the process of finding and identifying problems. The mechanism manifests itself as the splitting of a holistic object, finding its opposite qualities and oppositions, as well as the perception and search for its shortcomings, gaps, disharmonies, asymmetries and imperfections.
Decentration is understood as the process of creating different approaches to an object, as changing attitudes and taking different points of view into account. This mechanism is a process of mentally replacing habitual connections with unusual ones, deviating from traditional models of thinking, disrupting traditional ideas, overcoming inertia of thinking and stereotypes, creating various non-standard ideas and unusual images. Simplification manifests itself as the elimination of all the complex, unimportant, confusing and insignificant, as the achievement of clarity and elegance of form and at the same time the depth and accuracy of the content.
Identification is carried out with the help of active implanting and incarnation into objects and their circumstances, merging and experiencing emotional resonance with them. With this mechanism, the personality is immersed in objects of animate and inanimate nature, reincarnates into them and is aware of their internal impulses, circumstances and the logic of development. Meditation manifests itself as a removal and sensual isolation from the outer and inner world, as a distancing from the objects of interaction, impassive and fresh perception of their essences, connections, beauty and symmetry. This is a vision of the world and oneself in a new light, with the help of the “estrangement” technique, which makes it possible to perceive familiar things and phenomena as unfamiliar.
Self-actualization is understood as a process of the most complete disclosure and development of an individual’s potential, as a productive and integral self-realization of its creative possibilities. The mechanism of self-actualization reflects not only the free and spontaneous self-expression of the subject, but also his internal activity, the ability to make efforts aimed at self-mobilization and productive realization of his own creative potential. Holistic self-realization involves the implementation of ideal projects, plans and models, spontaneous self-expression, self-determination and self-affirmation. Personification is the revival and spiritualization of objects, endowing them with human and subject properties, recognition of their autonomy, the right to self-determination and self-development. In addition, this mechanism is manifested in the creation of independent structures capable of self-development and independent movement towards an ideal goal, in the construction of complete, balanced systems capable of independent search and productive resolution of contradictions.

Components and stages of creative vision. Creative interaction with the world has not only a hierarchical content, but also a temporary structure, including a number of successive stages: the perception and experience of the objects of reality, their analysis and understanding, manipulation and operation with them. Consistent, and at the same time simultaneous implementation of these stages is the effective basis of creative vision.
Creative perception of reality begins with liberation from traditional ideas, stereotypes and fixities, from returning to the initial ignorance, to “nothing”, to silence and the beginning of the world. Conscious disconnection from external and internal impulses, silence of mind and feelings create conditions for the free development of internal deep-creative structures, as well as the manifestation of the own activity of external objects.
At the same time, with the help of directed and systematic creative efforts, the threshold of sensations is reduced and their intensity increases, each of them is accentuated and sharpened, and their simultaneous activity is caused, which leads to the creation of a bright syncretic holistic image of the object.
Creative experience. The perception of reality is immanently saturated with experience, the enjoyment of the play of colors, sounds and lines of the world around.
A special type of transpersonal experiences is the fusion with objects of perception, getting used to and immersion in them, an intuitive understanding of their unique essence. Full, saturated with peak experiences, "dissolution" in the object is naturally replaced by cognitive detachment, impassive contemplation of its structure, harmony and beauty.
Detachment and distancing from the object activates subconscious processes, leads to the destruction of stereotypes and the spontaneous restructuring of existing experience, to the establishment of new connections, the convergence of various, often opposite signs.
Creative analysis. If creative perception begins with deliverance from perceptual attitudes and stereotypes, then creative analysis begins with total doubt, with deliverance from common sense and the denial of existing theoretical concepts. The most important property of creative thinking is insight, the ability to grasp the very essence of an object, the ability to decompose it into signs and to distinguish among them strong, opposite, as well as hidden, but useful.
Creative analysis of objects of the surrounding reality provides for a free transition to their supra-and subsystems, a vision of the causes and consequences of their manifestation, the deployment of temporary structures and the definition of development trajectories. Volumetric, polyphonic vision of objects is achieved by generating different approaches and combining different positions and points of view. Creative analysis involves the identification of all the contradictions of the system, the selection and exacerbation of the main, key, which determines the true cause and trajectory of the system. Creative analysis of objects includes an understanding of their main developmental trends, prediction and forecasting of their future states, mental construction of their ideal characteristics, properties and circumstances.
Creative understanding of an object implies its re-sacralization, acceptance of its unconditional value, understanding it as a necessary link in creative evolution, seeing in it clots of the human spirit, creative work and experiences, recognizing the structure and essence of the absolute in it.
Creative handling and manipulation of images and models of objects. Creative interaction with the world includes not only the reflection and cognition of its ideal essence, but also spontaneous and expressive self-disclosure, the desire to play with the essences and forms of the world, to feel its flexibility and plasticity, to break the usual ties, to overcome time, space and causality. At the same time, the desire to creatively manipulate the objects of the surrounding world is based on the realization that reality already implicitly contains its future, that everything in nature already exists, only in a maximally enlarged or reduced, expanded or collapsed form, that everything is already connected with everything и только естественная эволюция или произвольное экспериментирование с реальностью позволяют пробуждать и создавать новые связи, смыслы, сущности и формы.
Творческое отношение к миру всегда предусматривает игру, риск и юмор, обретение "сказочного всевластия", способности свободно манипулировать его объектами, идеями и законами. Творческая личность сознательно вносит в свое отношение к Миру интригу, тайну и парадоксы, насыщает его проблемностью, обостряет конфликты, наделяет объекты субъектностью и свободно определяет правила игры. Она оживляет объекты, усиливает и концентрирует их сущности, насыщает их признаками и свойствами идеала, включает их в необычные парадоксальные обстоятельства, свободно манипулирует их свойствами, состояниями, формами и временем, раскладывает их на многочисленные признаки и создает из них новые и полезные сочетания и узоры.
При этом сложное, разноуровневое и полифоническое взаимодействие личности с миром, обобщается и структурируется с помощью специального метода, который включает в себя ряд последовательных операций и направленных мыслительных усилий.

Метод творческого диалога с миром. Реализация метода начинается с занятия творческой позиции, с осознания своего универсального, истинного Я, а также пластичности и прозрачности мира, всего богатства и неисчерпаемости его потенций, принципиальной возможности его совершенствования и сотворчества с ним.
І. Творческое ощущение и восприятие.
1. Избавление от привычных перцептивных установок , шаблонов и стереотипов восприятия: остановить время, разорвать все связи, окунуться в первоначальное незнание, в "ничто", в тишину и пустоту мира.
2. Яркое, острое, чистое ощущение и восприятие разномодальных признаков объекта.
2.1. Звуки: а) воспринимать только звуки, поглощать их и растворяться в них; б) выделять по очереди каждый звук, произвольно повышать его интенсивность; в) улавливать новые неизвестные звучания, тонкие вибрации космоса. 2.2. Цвета (а, б, в). 2.3. Запахи (а, б, в). 2.4. Вкус (а, б, в). 2.5. Тактильные ощущения (а, б, в). 2.6. Формы (а, б, в). 2.7. Движение (а, б, в). 2.8.Take all the signs of the object at once. a) synthesize all feelings, create a holistic, polyphonic image of an object; b) To overcome the border between oneself and the world, to open to its rhythms, to feel oneself as its inseparable part.
2.9.Surprise and admiration. Reopen the world, look at it as unfamiliar, with a new and fresh look. See things as they are.
3. The selection and perception of individual qualities of the object.
3.1. See only the new. 3.2. See only beautiful and harmonious. 3.3. See the mystery, the riddle. 3.4.See the subtleties, details, nuances.
4. Optical decentration.
4.1.To perceive an object: a) from above; b) below; c) from the side; d) from the inside ...
4.2.The perception of the object from the position: a) a small insect; b) a huge mountain; c) any other object and subject.
5. Temporary decentration: a) to see the object in the past and the future; b) to see in the object the sprouts of the future and the traces of the past.
6. Expanding the vision. See at the same time: a) all objects existing around; b) all objects and events occurring at a given moment in a city, in a country, on Earth, in the Universe; c) to see on the frozen expanded screen the birth, the culmination and the end of the functioning of the objects.
ІІ. Творческое переживание.
1. Переживание игры красок, звуков и линий , наслаждение красотой и гармонией объекта.
2. Эмоциональная децентрация. Относиться к объекту: а) с любовью; б) с ненавистью; в) с апатией; г) с иронией; д) со смехом; е) с точки зрения вечности. 3. Идентификация с объектом, вживание в него, переживание своей связи с ним, интуитивное предчувствие и постижение его таинственности, уникальности и неповторимости.
4. Когнитивное самоотсранение от объекта, целостное и одновременное восприятие всех связей объекта, его гармонии и симметрии.
5. Наслаждение от игры с объектом: манипуляция его качествами и восприятие его неожиданных проявлений.
6. Трансперсональное, пиковое переживание его изначальной, безусловной ценности.
ІІІ. Творческий анализ.
1. Подвергнуть все сомнению. Критически взглянуть на очевидное. Открыться новому опыту, избавиться от стереотипов.
2. Определение сущности объекта.
2.1. Определить какую функцию он выполняет. 2.2. Каковы его цели и потребности. 2.3. Определить что он производит . 2.4. Представить объект максимально просто, отбросить все несущественное, второстепенное, оставить чистую функцию, выразить его сущность одним: а) словом; б) символом; в) метафорой; г) формулой; д) схемой; е) рисунком; ж) цветом; з) звуком; и) запахом.
3. Разделить объект на признаки и выделить среди них: а) существенные; б) противоположные; в) слабые, но полезные.
4. Определение структуры объекта.
4.1.Highlight the content structure: a) define the super-system and its goals; b) define subsystems and their goals (determine how the system transforms matter, energy, information); c) define the anti-system and its goals. 4.2.To determine the temporary structure: a) present the object in the past, define its goals in the past; b) present the object in the future, define its goals; c) see the line of development of the object and determine at which point of the trajectory it is located.
5. Meaning object decentration.
5.1.To present a point of view on an object in philosophy, economics, psychology, biology, mathematics ... 5.2. Connect the points of view on the object: a) genius; b) a professional; c) amateur; d) a child; e) women; e). animals;g) inanimate objects. 5.3. Introduce the object in a paradoxical, fantastic situation. 5.4.Substantial "rotation" of the object with the help of various lists of questions.
6. To determine the main contradictions of the object : a). between ideal and reality, b). between the goals of the system and the super-system c). between the objectives of the system and subsystem g). between the objectives of the system and anti-system d). between the objectives of the subsystems, e). between the current state, the past and the future of the system; there is). between the presence of potencies and reserves and their use; same). between opposing signs.
Iv. Creative thinking.
1. The vision of the ideal essence of the object , the mental construction of its ideal lifestyle and living conditions.
2. Re-objecting, accepting its absolute value, recognizing a bunch of human spirit, labor and emotions in it.
3. Understanding the object as a necessary link in history, a vision of the reflection of the Absolute in it.
V. Creative self-expression and manipulation of object models.
5.1. Свободное, глубокое и искреннее самовыражение, экспрессивное утверждения своей истинной сущности, переживание уникальности своего существования, наслаждение свободой творить, преодоление причинности и времени, усиление сущности объектов и приближение их к идеалу. Головокружительное осознание того, что "Все возможно" и "Все достижимо".
5.2. Свободное оперирование и манипулирование образами и моделями предусматривает осуществление творческих преобразований в пространственном, временном и содержательном измерениях.
Творческое манипулирования представляемыми моделями объекта происходит с помощью реализациии системы универсальных механизмов творчества: идеализации - проблематизации, децентрации - симплизации, идентификации - медитации, самоактуализации-персонификации.

В то же время, в процессе мысленного оперирования моделями действительности осуществляется трансформация пространственных, временных и содержательных характеристик объектов с помощью соответствующих приемов:
1. Idealization. Пространство: 1.Вложить части пространства друг в друга как матрешки. 2. Перейти в надсистему. 3. Перейти к высшему измерению.
Время: 1. Видеть процесс в целом: его начало, кульминацию, завершение. Приемы: а). «Предварительного действия». b). «Предварительно подложенной подушки». Содержание: 1. Представить, что все уже достигнуто, все противоречия разрешены. Начать с конца. 2. Наделить объект способностью самостоятельно разрешать противоречия, представить, что все осуществляется само собой, как в сказке. Приемы: а). «Создание идеального плана» б). «Универсального действия» - объект выполняет функции любых других объектов, может быть всем, чем угодно.
2. Problematization. Space: 1. Endow the structure of the object with asymmetry. 2. Rebuild the structure: the whole - performs one function, the part - the opposite. Time: 1. To dissolve opposites in time: the principle of periodic action. Content: 1. Accentuate and sharpen the differences. 2. Face two harmful factors. 3. Implement the principles of paradox, "explosion", incident, catharsis.
3 Decentration. Пространство: 1. Изменить размерность объекта. 2. Перевернуть объект. 3. Изменить размеры объекта и его частей от 0 до ∞. Время: 1. Взглянуть на объект из будущего и прошлого. 2. Повернуть время вспять. 3. Изменить время от 0 до ∞. 4. Содержание: 1. Поместить объект в самые неожиданные ситуации. 2. Использовать переходные состояния объекта. 3. Осуществить принцип частичного или чрезмерного действия. 4. Осуществить обратное действие, антифункцию. 5. Изменить значимость, стоимость и основную функцию объекта от 0 до ∞. Приемы: а). «Сделать наоборот» б). "Преобразовать вред в пользу», в). «Усилить вредный фактор и использовать энергию вреда» г). «Компенсировать один вредный фактор другим».
4. Simplification. Пространство: 1. Избавиться от ненужных частей.
2. Реализовать принцип посредника - манипулирование копией объекта. Время: 1. Реализовать принцип "Замены дорогой долговечности на дешевую недолговечность". Содержание: 1. Избавиться от внутренних и внешних ограничений. 2. Избавиться от ложных предположений и избыточной информации. 3. Избавиться от привычной терминологии, создавать неологизмы.
5. Идентификация. Пространство: 1.Занять позицию объекта в пространстве. 2. Принять форму и размерность объекта. Время: 1. Чувствовать ритм, собственную частоту объекта, войти с ним в резонанс. Содержание: 1.Вжиться, перевоплотиться в объект. 2. Использовать принципы однородности, синхронизации и резонанса. Прием: а). «Личная аналогия», «Метод маленьких человечков» - представить себя компанией маленьких человечков, которые превращаются в части объекта.
6. Медитация. Пространство: 1. Удалиться от объекта в пространстве. Время: 1. Дистанцироваться от прошлого и будущего. Содержание: 1. Реализовать прием анаксиоматизации - временного обесценивания проблемы и привычных способов и приемов ее решения. 2. Когнитивное отстранение и отчуждение от своего субъективного "Я", от объекта и от своих отношений с ним. Разрешать проблемы путем их элиминации, отстранения и полного отказа от них.
7. Актуализация. Пространство:1. To decompose the object into parts and mix:
a) with each other; b) with parts of other objects. 2. Turn the shape of one object into another. Time: 1. Divide time into stages and mix:
a) with each other; b) with stages of other objects. 2. Turn the time of one object during another. Content: 1. To decompose an object into features, functions, properties and mix: a) with each other; b) with signs of other objects. 2. To transform the qualities of one object into the qualities of another, to see the transition points.
8. Personification. Space: 1. Implement the principle of minimizing intervention and the principle of non-intervention. Time: 1. Apply the principle of dynamization to make immovable objects or their parts movable.Content: 1. To create such a structure, which itself would independently resolve the arising contradictions. 2. Implement the principle of "non-acts." 3. Implement the principles of self-service, self-correction, self-use of resources.

Таким образом, творческое видение личности миром представляет собой многоуровневую и полиетапную систему, которая включает в себя восприятие, анализ, переживание, осмысление и действенное оперирование образами и моделями действительности. При этом каждый компонент данной системы рефлексируется и реализуется с помощью осознанных механизмов и приемов творчества.
Данный универсальный метод может свободно и естественно вмещать в себя не только такие наиболее эффективные системы активизации творчества как «ТРИЗ» Г.С. Альтшуллера, «Синектика» У. Гордона, «Метод контрольных вопросов» А. Осборна и Т. Эйлоарта, «КАРУС» В.А.Моляко, но и новые, возможные техники, методы и приемы.

FINDINGS
The integral, integral method of forming and developing a creative vision, freely includes the most effective existing methods as its components and stages. This method can be considered as a universal method of enhancing the creative potential of the individual, as a form of creative training and a method of effectively solving the most complex, unexpected and fundamentally new problems. This method is a flexible dynamic structure, the components of which can take any configuration, and the sequence, value and time of the stages can vary freely depending on the type and purpose of the activity, the specific situation and the state of the individual.
So the processes of creative perception and experience of the world can dominate in the implementation, advertising, design and artistic activities, systematic creative analysis and reflection, when creating strategies, planning, making management decisions, resolving various conflicts and solving practical problems, creative manipulation with models can prevail during innovative and inventive activity.

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