Mechanisms and techniques of creative mastering of time

Mechanisms and techniques of creative mastering of time

Creativity and time are among the most fundamental, essential and generalizing categories of modern science. Identification and disclosure of the relationship between them leads to a deeper and more adequate understanding of their content, to the definition of their basic mechanisms and essential laws.
Traditionally, both of these concepts are considered as change, development, formation, as the emergence and resolution of contradictions, as the birth of the hollow and the transition of possibilities into reality. At the same time, creativity is also defined as interaction, in the process of which mutual interaction and mutual change of systems of the material world, their mutual enrichment and mutual development, birth and formation of new forms and qualities occur. It can be assumed that time itself, reflecting the most essential connections and relations of reality, can be considered as a form of interaction between different stages of the development of material systems. The basis of this most general definition of time is the law of transition of the stages of development of a system into the intrastructural levels of its organization. In addition, any currently existing structure contains virtual levels, representing the anticipated final states, the “germs” of its future. Current structures "condense" time, "draw in" their past and future. At the same time, the actual interactions between different levels of the structure can be viewed as a minimized interaction between different stages of development of this structure, as well as an interaction between its virtual and real levels. Thus, the “instant”, the “slice” of the present acquires the structure of Eternity. At the same time, Eternity itself can be represented not as a “thread of moments”, but as a “sum of cuts” of the present, but as a polycyclic, recursive, multi-level and multi-directional interaction of the stages of development of systems of varying complexity. Such an understanding of Eternity allows us to resolve the contradiction between the static theory of time, in which it appears as a huge screen containing the past, present and future, and dynamic, which understands it as movement, change, interaction, and resolution of contradiction.
As the structures become more complex and refined, the materials of the ego of the world undergo a change and a temporary relationship between them, acquiring their true essence and the subjective time of the creative personality. In turn, the concept of personal time can be represented as a chain of polycyclic interactions between active and independent structures “I am the past”, “I am the present”, “I am the future”, representing a personified, subjective form of the existence of time.
At the same time, creativity is an immanent feature of a free, independent subject who has the ability to consciously relate to himself, to others, to the world and to time. It is in the consciousness of the person that the contradiction between the relational and substantial understanding of the essence of time is removed. On the one hand, she clearly realizes that it "permeates", "fills" all objects and phenomena of the surrounding world, on the other, it abstracts, is endowed with independent activity, and subjectivity. At the same time, the relation to time itself, understood as an active interaction with it, as the personality develops and its life position develops, acquires certain qualitative specificity. It can be assumed that each of the levels of development of a person’s life position: passive, reproductive and creative, can be put in correspondence with a certain level of personality interaction with time.
In the first case, the individual appears as a passive object, which, endowing time with activity and subjectivity, meekly relives its helplessness, frailty and chance. He feels the hostility and coldness of time, watching how it methodically and impassively pulls out the days of his life, cuts out wrinkles, severely punishes for insubordination. Time is identified with a powerful, compelling necessity and is experienced as regret for lost opportunities. The second level is characterized by a change in the interaction poles, in which the individual as a subject of life activity, sees time as an object of manipulation, seeing in him a factor, reserve and means of optimizing his activity. The individual accepts the challenge posed by time, enters into a struggle with him, trying to defeat him and seize him. Mastering and subjugating time leads to self-affirmation of an individual, the attainment of his unique “I”. However, the hypertrophied assertion of one’s individuality leads to imaginary liberation and “deliverance” from time, to the illusion of freedom and the ability to act regardless of cause and effect.
For an active subject who realizes his goals, time acquires "elasticity", begins to yield to control and appears as the most important factor in optimizing activity. In the process of life activity, a person learns the art of mastering time, develops effective methods and rules of interaction with him, creates and improves his method of attitude to time, which allows him to realize his individual abilities to the fullest extent.

In a number of works, the most effective methods of organizing, managing, and using the personality of their time [4, 6, 7] are highlighted and summarized.
1. Timing, budgeting, analysis of working and individual lifetime.
2. Clarify values ​​and determine priorities. The choice of the main leading problem. Allocation of time only for useful activity. The fulfillment of the essential, the important, and not the routine and habitual, which is urgent.
3. Planning and programming activities.
a) Drawing up a prospective monthly, weekly and daily plans.
b) Planning aimed at the result, not at the task.
c) Monitoring of goals by specific results, and not by the implementation of individual program activities.
d) Planned goals should have a strict time frame and a time budget.
e) Planning from the date of completion of the work (from the future to the present).
e) Planning the pace of work, establishing a high rate of activity.
4. Full immersion in the work, doing it with concentration, with passion, with pleasure, the vision of its developmental potential.
5. Doing work "today", solving the problem "here and now." To make a decision, not all information about the situation is necessary, but only a certain part of it.
6. Combining, doubling of actions, in which several goals are fulfilled in one activity.
7. Use of "waste" of time, intervals between works.
8. Anticipation and preparation of action. Determination of optimal conditions in the future. Creating such a state of things, which is then arbitrarily, thanks to the natural movement of things, will automatically lead to the goal.
9. The method of "procrastination" in the confrontation. Understand who is playing time. To wait, postpone, delay the action. Determine a favorable, most optimal time to start the action.
10. Changing the internal tempo rhythm: slowdown in perception and maximum relaxation, a clear rhythm of intense action, maximum: concentration and mobilization of anergy.
Thus, with the help of the system of methods, the subject tries to master time, use it as a reserve for optimization and economization of its activities. However, organizing and regulating the acquired "elasticity" time, "winning" it for himself, the subject does not yet have a truly individual time, since its activities are determined by externally defined meanings and norms of the actual social environment.
Finally, creative interaction with time is characterized by the fact that a free active subject opens in time his qualitative originality, activity and subjectivity, and the interaction itself, at the same time, turns into a dialogue of independent structures with their own specificity and own developmental logic. Time, which, according to the relational theory, is not an independent entity, regains it, personifying in “I am the past” and “I am the future”, acting, along with “I am present”, as independent, equivalent and active structures. Creativity, as a dialogue, contains all types and plans of interaction with time: hypertrophied subjectivity, manifested in free will, ignoring causality and time, as well as absolute sacrifice, leading to fusion, identification with the outside world, submission to its time and rhythm.
A creative personality is distinguished by a multi-level, polyphonic relation to time, which includes both strict regulation and flexible management, and dissolution in it, and even its ignoring. She freely combines these relations, accommodating them into each other and, depending on the external situation or internal state, easily moves from one relationship to another. The creative person moves freely, slips in time, selflessly plunges into the present. She lives "here and now", and does not prepare to live, openly I sincerely realizing in the present the reserves and possibilities of my individuality. At the same time, she is looking for support in her past, actualizing vivid images and experiencing her successes and victories. It is also directed to the future, represented by lofty, noble and distant goals.
Creative attitude to time is a manifestation of the creative position of the individual, which has a dynamic, hierarchical structure, including axiological, cognitive, emotional and behavioral components, implemented through appropriate socio-psychological mechanisms of creativity: idealization, decentration, identification and self-actualization. Moreover, each of these mechanisms in real creative interaction with the temporal structures of objects and phenomena is manifested in the form of specific means, rules and techniques.
Idealization is a process of mental construction of an ideal image of an object, in which its perfection and richness of connections are reflected, criteria of social importance, truth, goodness and beauty are harmoniously interwoven, and the main and most urgent contradictions are resolved.
Decentration is expressed in the ability to generate various approaches to the object of interaction, in the ability to change one’s position and point of view on the object, to take into account the positions of other people.
Identification consists in identifying oneself with other people and objects of the surrounding world, in actively implanting them, and also in experiencing one's connections and relations with them.
Self-actualization is understood as the desire for the most complete and continuous realization of their personal capabilities, as the need for holistic self-expression and self-realization of their creative potential.
With the help of the mechanism of idealization, a value relation to time is realized, without which its creative mastery becomes impossible. It is the highest humanistic ideals that are the value determinants of the individual time of a creative person. At the same time, idealization, as a vision of the ideal essence of objects and phenomena, presupposes their representation in natural completeness, harmony, that is, the vision of their integral temporal structure. Foresight and anticipation of the final result of the development of the object, the vision, the beginning and the culmination of its life trajectory allows you to simultaneously represent all the moments of his past, present and future on the frozen unfolded screen. Detailed representation of the temporal structure of the object makes it possible to arbitrarily select individual stages of the process, their “compression”, “expansion”, “mixing”, “gluing”, creating the necessary, ideal temporal configuration. In real creative activity, this mechanism manifests itself in the form of the “preliminary action” technique, which presupposes modeling the future ideal situation and creating conditions for its optimal implementation.

The mechanism of decentration allows to overcome the anisotropy of time, to move freely along the time axis in any desired direction. The use of this mechanism allows you to represent an object simultaneously in several time clans, makes possible its holistic, three-dimensional vision.
The essence of the identification mechanism consists in the vision of the temporal specificity of the object, in feeling into its unique, internal rhythm. Disclosure of the time structure of an object allows building an optimal system of interactions, highlighting priorities, determining the order and frequency of acts, and making timely and effective impacts on an object. At the same time, the perception of rhythm and cyclical nature of events and phenomena, the awareness of their periodicity, allows making predictions and predicting the future.
The developed sense of rhythm and time allows the creative person to guess the moment of receiving the maximum “winnings” in a complex and fascinating “game with nature”. In the inventive creativity this mechanism is specified in the form of a number of techniques: "achieving resonance", "alternating continuous and impulse influences", "principle of periodicity of actions" [1].
The specificity of the mechanism of self-actualization, which realizes a creative attitude towards time, is manifested in the "compression" of subjective time, in concentration at the instant of the present, leading to energization and mobilization of the creative abilities of the individual. At the same time, objects and phenomena of the external world “freeze”, as it were, revealing and manifesting their connections. Interestingly, the arbitrary slowing down of the tempo rate and the “stopping” of subjective time leads to the activation of external structures. This effect is manifested in the long-term observation of pictures, leading to the "revitalization" of the plots.
Manifested and consolidated in the process of creative interaction with objects of the external world, psychological mechanisms of creativity are realized in relations to oneself, to one’s life path, to one’s own subjective time.
It is the complication and enrichment of relations with the world, the awareness and experience by the individual of his involvement in it, the responsibility for its development leads to a significant expansion and qualitative change in subjective individual time. Awareness of the finiteness of one’s existence, going beyond the present, the mastering of time by submission to it gives personal time a higher moral meaning and a certain qualitative originality. The individual time of a creative person is personified in the active, independent, equivalent structures “I am the past”, “I am the present”, “I am the future”. Dialogic, polycyclic interaction between these structures is manifested not only in the activation of images of the past or the modeling of the future, but also in the obligatory reverse “movement”, which consists in evaluating and experiencing “I am present” from the standpoint of “I am past” and I am the future. " At the same time, the concept of subjective-personal time is revealed not as a set of events, not as a correlation of cause and effect, but as a chain of polycyclic interactions of independent structures “I am real”, “I am the past” and “I am the future”.
The activization of the independent structures “I am of the past”, “I am real” and “I am of the future” consists in conscious, bright and deep experience of each structure, in full penetration into it and in dissolving in it. Time is closely connected with experience, which is the subjective way of the existence of personal time. To brightly and cleanly experience the feelings that have already been experienced in the past means to endow “I am the past” with autonomy and activity. At the same time, experiences of the past and the future occur "now", in the present, which ensures the interrelation and interpenetration of the structures "I am of the past", "I am of the present" and "I am of the future." However, the real interaction between these independent structures is carried out only with oncoming traffic, by consciously alternating and experiencing other structures from the standpoint of each of them.
It is the bringing of a unidirectional action — memories or dreams — to interaction that determines the temporary integrity of a person’s existence, which makes it possible to effectively resolve personal contradictions within. So the practice of psychoanalysis is directed towards the construction of the integral acts of interaction “I am of the past” and “I am of the present. At the same time, the already existing reverse influence consisting of actualization and experiencing “I am of the past” from the standpoint of “I am present.” At the same time, one-sided construction of an ideal as an image of the future acquires its integrity in the practice of role-playing training, in which “I am the ideal” is transferred to the present, experienced as realityand updated in the present through a series of efforts. The creative dialogue of the subject with himself, with his past and future, is carried out with the help of a system of psychological mechanisms of creativity. Thus, the mechanism of idealization is manifested in the interaction of “I am real” and “I am ideal”, the latter being not a real structure distant into the future, but the core of universal creative abilities existing in the present. Idealization can also be directed to the past and present. At the same time, a person, by actualizing and experiencing his achievements, victories and successes, realizing his intrinsic value and essential dignity, acquires and affirms faith in himself, in his ability to cope with difficulties.
В то же время выход за пределы себя и своего настоящего, представление целостной временной структуры своей жизни, одновременное видение начала кульминации и конца своего жизненного пути, свободнее скольжение по застывшему изотропно¬му времени, видение своей жизни sub specie aetrrnitatis (с точки зрения вечности), понимание ее как частички и вместе с тем как уникального звена и тории наполняет саму жизнь высшим нравственным смыслом, позволяет насытить ее энергией Вечности.
Механизм временной децентрации позволяет взглянуть на свою жизнь с любого хронологического момента своей жизни. Феномен сквозного видения своей жизни, обозрения ее на любом участке в любом на¬правлении был назван индивидуальной временной транспективой личности [5]. Механизм временной децентрации позволяет видеть, оценивать и переживать "Я - настоящее" с любой точки временной оси и тем самым актуализировать в нем новые, часто скрытые, с точки зрения хронологического настоящего, свойства и отношения.
Механизм временной идентификации позволяет открыть свой уникальный внутренний ритм, определить темп индивидуального времени, найти свой шаг, свободно подниматься и опускаться вместе с волнами жизни. Механизм идентификации проявляется как способность полного погружения, вживания и глубокого, яркого переживания своего прошлого и будущего. Именно переживания, наполняющие и пронизывающие время, позволяют объединить, "сплавить", вложить друг в друга прошлое, настоящее и будущее, придать субъективному времени целостность, гибкость и содержательную сложность.
Актуализация этого механизма с одной стороны позволяет субъекту преодолеть свою "атомарность", временную замкнутость и фиксированность, с другой - приводит к обретению своеобразного, "при¬родного - Я" со своим "истинным", уникальным темпоритмом.
В свою очередь самоактуализация ведет к полному и свободному выражению "здесь и сейчас" своей индивидуальности, утверждению своей независимой субъектности, к спонтанному и экспрессивному са¬мораскрытию сущности, к полному погружению в настоящее, которое переживается как единственное реальное время жизни. При этом искусственно повышая значимость настоящего, личность сознательно разрывает связи с прошлым и будущим, тем самым "очищая" настоящее. возвращая ему его истинное своеобразие.
Необходимо подчеркнуть, что подлинная реализация творческого отношения ко времени возможна только при функционировании целостной, внутренне связанной системы механизмов творчества, которые ак¬тивизируют, взаимопроникают и взаимообогащают друг друга. Их взаимодействие проявляется в свободной, попеременной актуализации "вневременного" и объемного, включающего различные временные планы, видения объектов, в полном погружении в их ритм и в своевольном сжатии времени в миг экспрессивного утверждения экзистенциального - Я.
Вместе с тем творческое отношение к миру всегда предполагает игру, риск, юмор, свободный полет фантазии, обретение "сказочного" всевластия, способности свободно манипулировать признаками, формами я сущностями. Творческая личность сознательно вносит в свои отношения с миром интригу, наделяет объекты субъектностью, обостряет конфликты и определяет правила игры.
Сознательное изменение анизотропности и одномерности времени, манипулирование его свойствами, изобретение игр с ник не является самоцелью, а служит средством расшатывания стереотипов, преодоления временных фиксированностей, способом обретения нового, свежего взгляда на предметы внешнего мира и самого себя.
Игры со временем:
I. Подчинение объективного (-ому) времени.
1. On the frozen, minimized screen at the same time present the emergence, flourishing and wilting of the system: society, person, object, situation. Fit the story to the panorama screen.
2. Present and combine all events occurring at the present moment of time:
a) at various points in space; b) at different levels of motion of matter.
3. Add, combine events of different time, but similar in content, form, objects or their manifestations. Fold the coils of the helix. Draw a line along the surface of the compressed spring.
4. Stop the time, turn it back, moving from the effect to the cause.
5. Compress, stretch, accelerate and slow down the life of objects, change it from 0 to ∞.
6. Split time into pieces, mix and fold into the desired, "good" structure, put these pieces into each other like dolls.
7. To endow the various subsystems of the whole with one rhythm, one frequency, harmonize their time, achieve resonance, leap, and qualitative change.
8. Divide, dissolve conflicting, conflicting parts of the system in time.
Ii. Путешествия в индивидуальном времени.
1. Ярко представить, вжиться и пережить определенные моменты прошлого и будущего, сконструировать активные и самостоятельные образы "Я - прошлого", "Я - настоящего" и "Я - будущего". Активизировать диалог между ними. Обсуждать внешние и внутриличностные проблемы, продуцировать целостное, полифоническое, "разновременное" их видении.
2. Моделировать конкретные поступки, составлять их алгоритмы, создавать подробные "сценарии" будущего. Предвидеть реакции и действия окружающих, свои ответные ходы и переживания, предполагаемые изменения ситуации. При этом непременное выполнение намеченного сценария приводит к созданию и взаимодействию двух временных планов, обогащает и раскрывает сущность настоящего.
3. Design, vividly present and experience your ideal “I”, get used to it, dive into it, play its role in the present.
4. Intensify the images of the past, saturate them with colors, sounds and smells. Build a chain of free and bright associations.
5. Compress the temporary axis of your life, fit it into the present. To make today, "here and now" the most important, the essential, the highest.
6. Stop your subjective time, "dissolve" as a whole, get rid of the subjective "I". At the same time, pure "non-being" - meditation, nirvana, sleep - occurs in real "being." The imposition and interaction of "being" and "non-being" is a source of internal energy, generating a new understanding of your life.
7. Beat the time axis of your life on the "moment" of the present, direct the flow of time back. Combine yesterday and tomorrow, next and last week, month, year. Mental, subjective movement in the opposite direction along the time axis interacts with real movement into the future. At the same time, the present is freed from subjectivity, and objects, phenomena and people acquire their objective, essential significance. At the same time, the realization of the finiteness of the constructed “inflection point” allows you to look at the life that continues “without you” with a look from Eternity.
Именно творческое освоение времени, свободный и открытый диалог с ним лежат в основе гибкости, текучести и беглости мышления, полифоничности, спонтанности и когнитивной смелости личности, в склонности к юмору, риску и игре, к поиску и раскрытию тайн окружающего мире.

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