Individual psychological characteristics and abilities of a creative person

Individual psychological characteristics and abilities of a creative person

Annotation. A variant of a holistic, multicomponent system of creative abilities of the individual is proposed. The basis of the classification is the original matrix of creativity, which is a dialectic system of universal mechanisms of creativity.

Individual psychological characteristics and personality traits can be viewed as intrapersonal structural determinants of creative activity. Among these properties, depending on the degree of personal regulation and the degree of saturation of their socio-cultural values, we can distinguish: the primary traits of temperament, ability, as well as traits of character and personality.
Understanding temperament as a combination of hereditary anatomical and physiological, sensorimotor and neurodynamic organization of the individual is very close in meaning to the concept of abilities. According to J. Guilford (1934), L. Thurston (1951), J. Strehl (1982), the same property can simultaneously act as a feature of temperament, and as an ability. In turn, N. I. Reinvald (1987) considers temperament, abilities and character not as separate properties, but as synthetic characteristics of the personality structure expressing its various aspects. At the same time, temperament reflects the level of intensity of activity, the abilities characterize the capabilities of the individual in relation to this activity, and the character expresses generalized, fixed forms of behavior.
According to S. L. Rubinshtein (1946) and B. G. Ananyev (1969), personality traits are formed as a result of generalization, systematization and consolidation of mental processes. In this regard, N. I. Reinvald (1987) notes that the existence of such a model of genesis corresponds to the traditional division of personality traits into three main groups — intellectual, emotional, and volitional.
At the same time, the formation of stable personality traits of any level of generalization and complexity occurs in the process of holistic acts of its interaction with the world under the influence of three interrelated factors:
1. Actualization of genetically determined neurophysiological and sensorimotor structures that are directly related to special abilities and primary features of temperament.
2. The effects of the external environment, containing and purposeful pedagogical actions.
3. Manifestations of the conscious inner position of the individual, arbitrary acts of realization of its relationship to the object, to itself and to the activity itself.
In contrast to the special, creative abilities are largely determined by the last two factors, namely, the conditions of the creative activity of the subject and his active and creative inner position. In the process of formation and development of personality, its interaction with the world is becoming more and more complicated, enriched and filled with elements of creativity, and the properties themselves acquire a higher, qualitatively peculiar character.
In the modern literature carried out numerous attempts to classify and organize a variety of creative abilities. At the same time, in many cases, the proposed systems of creative abilities are not distinguished by the full and hierarchical organization. In addition, in various classifications, abilities are often mixed with personality traits and even with creative strategies, methods and techniques.
Among the systems in which "purity" and the qualitative originality of creative abilities are maintained, it is possible to distinguish the classification of J. Gilford (1967.1983), S. Coleman (1960); H. Gardner (1993); A.N. Luca (1978); V.V. Rybalko (1993,1996).
J. Guilford (1967) considered creative abilities as characteristics of divergent thinking, the essential features of which are: originality, ability to reformulate, adaptive flexibility, spontaneous flexibility, associative fluency, verbal fluency, fluency of ideas, ability to work, ability to evaluate.
Also noteworthy is the classification of creative abilities proposed by S. Coleman (1960). The author identifies such properties as openness to new experience, tolerance for conflict and ambiguity, lack of rigidity of thinking, lack of conviction in having answers to all questions.
Of particular interest is the classification of H. Gardner (1993), which is based on a multi-level structure of intelligence. According to the author, the basis of multifactor intelligence are seven independent systems that operate according to their own rules. So the generalized intellect appears in the form of 7 private intellects, directly connected with various types of creative activity:
1. Linguistic intelligence is understood as the ability to use language to create, process and transmit information.
2. Musical - as the ability to create, perform musical works and get pleasure from it.
3. Mathematical - as the ability to manipulate symbols and signs.
4. Spatial - as the ability to represent and manipulate objects in mind, to create spatial compositions.
5. Body-kinesthetic intelligence - as the ability to form and use motor skills in sports, performing arts, manual labor.
6. Intra - personal - as the ability to control your feelings, use them in your activities.
7. Interpersonal - as the ability to notice and understand the needs and intentions of others, to manage them, to anticipate their behavior.
At the same time, according to H. Gardner, by virtue of hereditary and external factors, various types of intelligence primarily develop in different people, contributing to the most complete realization of the personality. At the same time, M. Ranko (1990) wrote that a number of cognitive abilities are simultaneously realized in real creative activity. Thus, the basis for solving specific life problems is the interaction of such qualities as the ability and ability to identify problems, the ability to generate ideas and their solutions, as well as the ability to evaluate their effectiveness.
The complexity and multi-level of the creative interaction of the individual with the outside world determines the existence of a hierarchical system of mechanisms of creativity, each of which serves as the core of specific abilities that ensure the success and productivity of this interaction.
The organization of numerous creative abilities of the individual can be based on a certain initial matrix of creativity, constitutes a creative dialogue of the individual with the world.

Table 1 The original matrix of creativity

The original matrix of creativity serves as the core, the basic pattern for constructing an integral system of creative abilities of the individual.
Universal abilities associated with the activity of "creative-I", manifest as the ability to:
1. The creation of a polyphonic, multi-meaning model of reality and the free manipulation of its spatial, temporal and informative characteristics.
2. Transformation, reformulation and reorganization.
3. Integration, balance, harmonization and mutual coordination of signs of reflected objects
4. Game elements, images, concepts and meanings.
5. Creative synthesis, to unite the incompatible spheres of reality, convergence of remote concepts and reduce contradictions.

1. Idealization is the ability to:
1. holistic, syncretic perception of reality, the ability to simultaneously hold in the field of attention the various characteristics of the object (latitude and distribution of attention);
2. refinement, improvement of the object, to its improvement and harmonization;
3. foresight, forecasting and anticipating events;
4. panoramic vision, to the combination, to the "overlaying" of the "past", "future" and "present";
5. the disclosure of new meanings, to operate on them, to endow them with objects and events;
6. perception of the unity of the world, to the understanding of hidden connections and similarities of phenomena, the ability to establish analogies and the vision of similar in different;
7. intuitive decision-making, to generalizations and conclusions based on an insufficient number of signs;
8. transcendence, overcoming atomicity, isolation, situationality;
9. vision in the whole, in the phenomenon - the law, in reality - the ideal;
10. "The ability to work wonders" (E. Torrance).
2. Problematization is:
1. sensitivity to contradictions, imperfections, gaps, deformations and defects of the object;
2. vigilance in finding problems, the ability to find, sharpen and formulate problems, the ability to see problems in the ordinary and understandable;
3. the ability to separate opposites, to recognize this difference and even sharpen it;
4. the ability to creative analysis, to the decomposition of objects into components and signs, the ability to see a variety of similar;
5. the ability to solve problems and conflicts;
6. the ability to resolve paradoxes, "to know that you do not know" (K. Taylor).
3. Decentration is:
1. the ease and speed of generating ideas and hypotheses;
2. ease, wealth and speed of association;
3. flexibility of thinking - the ability to quickly and easily move from one class of problems to another;
4. the ability to overcome the inertia of thinking, to abandon the usual ways, methods and patterns;
5. ability to adhere to adhesion, to break familiar ties, to overcome functional fixities, patterns and stereotypes;
6. ability to find non-standard solutions, to establish new unexpected connections, to generate original associations;
7. the ability to flexibly shift attention from subject to object, from general to particular, from system to above- and subsystems, from present to past and future;
8. the ability to use old information in a new way;
9. the ability to perceive and wonder about the new, the unusual and the mysterious. "The ability to surprise is a sign of the philosopher" (Socrates);
10. the ability to cope with new, unexpected, unpredictable.
4. Simplization is the ability to:
1. simplify, clarify, organize complex objects, events, problems;
2. discarding nonessential, minor;
3. the creation of various copies and models of the object, to the creation of capacious symbols and metaphors;
4. the selection of the main, essential, the definition of key features, the leading functions of the object;
5. lateral, "lateral" perception, the ability to capture subtle vibrations, weak, but significant and useful signals;
6. the vision of the subtleties, nuances and details, revealing the essence of the object;
7. wording concise, concise and clear definition;
8. clarity, clarity, elegance and transparency of thought;
9. folding and summarizing operations;
10. classification, systematization and structuring of objects and phenomena;
11. rapprochement and meaningful compression and generalization of concepts, highlighting the most general laws and principles;
12. constructive criticism;
13. the ability to evaluate;
14. verbal expression of indescribable phenomena and experience;
15. finding order in chaos, symmetry in asymmetry.
5. Identification is the ability to:
1. experiencing the feelings of another, to the "emotional and semantic resonance";
2. to live and penetrate into the inner world of living and inanimate objects, to perceive and see the world from their positions, to experience their aspirations and desires;
3. identification with higher values, cosmic intelligence, ideal, to the peak, transpersonal experiences of beauty, harmony and unity of the world.
6. Meditation is:
1. the ability to emotional detachment from the object, the ability to impartial, impartial contemplation;
2. the ability to get rid of egoistic motives and subjectivity, the ability to “completely lose sight of one’s own interest” (A. Schopenhauer);
3. the ability to concede, abandon their positions, desires, aspirations, the ability to "be born again."
7. Self-actualization is the ability to:
1. spontaneous, sincere self-disclosure, to full dedication;
2. improvisation;
3. self-mobilization of their potencies and reserves;
4. making an effort;
5. the embodiment of ideas and implementation of ideas.
8. Personification is the ability to:
1. self-restriction of one’s own actions, to minimization of intervention in events and to their active contemplation;
2. the delegation of its functions and responsibilities, the ability to stimulate control;
3. activation of objects of the external world, to their animation, endowment with independence and activity;
4. the granting of freedom to external objects, allowing them to be spontaneously carried out;
5. the creation of creative, stimulating atmospheres, the ability to inspire, inspire faith in their own strength;
6. the ability to surrender to the will of circumstances, to submit to the inevitable;
7. the ability to "sail" - use the energy of circumstances, experience and opportunities of others.
Using the original matrix of creativity as the basis for organizing a variety of creative abilities, allows you to reduce them into a single, mutually consistent system, the elements of which do not contradict, but complement and mutually reinforce each other.

LITERATURE:
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2. Goncharenko N.V. Genius in art and science. - M .: Art, 1991.- 432 p.
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