Lecture
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The universality and essence of these mechanisms of creativity are the reason that each of them can be the core, the essential core of an independent artistic and individual creative method. So, introduced by V. Shklovsky in his article “Art as a device” (1917), the method of “estrangement”, which consists in the ability to perceive the familiar, mundane world “as it were” for the first time, in the ability to see, and not recognize objects, was laid in the basis of an independent artistic method that gave rise to the literary movement of Russian formalists.
In addition, a separate universal mechanism of creativity, in a concentrated form reflecting the fundamental laws and tendencies of the development of the world, can serve as an independent explanatory principle of the phenomenon of genius.
1. Idealization. The vital activity and creativity of a genius is in its essence a way of searching, affirming and implementing great ideas, higher values and ideals. “The only favorite idea that constituted the goal and the happiness of their life fully captured these great minds and served as a guiding star for them,” wrote C. Lambroso.
A genius consciously or unconsciously recognizes and seizes the ideal by the essence of an object, sees and mentally constructs its ideal image. Genius has the courage and generosity to see the hidden core of the object in its neighbor, to present them more perfect than they really are, to endow them with qualities corresponding to the ideal, to awaken and help to realize the potentially better and perfect.
The ideal appears to the genius as a “spark of the absolute” decorated, embodied in a perfect image. The Absolute seizes as a higher meaning, is shaped and saturated with values as an ideal, is recognized as an idea and operationalized as a goal and a super task of creativity.
The ideal for a genius is formed as a moment of reality, as an inner, deeply intimate ultimate goal of his aspirations, embodied as a perfect image in art, as a consistent and highlighting truth model in science, as relationships built on justice and love - in public life, as conscience and categorical imperative in the inner world of the individual. “I know too well what my goal is,” said I.V. Goethe is too firmly convinced that ultimately I am on the right path in order to draw my attention to gossip, I have enough opportunity to write what I feel and feel what I write. ” The ideal appears as inner superiority, as the standard of perfection, as the resolution of all key contradictions, as the embodiment of the ideas of truth, beauty and benefit and at the same time as an alluring prospect, as the ultimate goal of aspirations and creativity. Idealization is predominantly directed towards the future and manifests itself in the form of creating and implementing an “ideal plan” (R. Akoff), “super-tasks” (K. Stanislavsky), “an ideal end result” (G. Altshuller).
2. Problematization. The genius is particularly acute in experiencing the tragedy of the epoch, the imperfection of total being, the drama of social processes and the suffering of every simple person. In every phenomenon he is able to see deep-seated conflicts, and in the object are his essential contradictions and imperfections. The genius in his work is trying to find a solution to global problems, to find answers to eternal, universal questions, to penetrate the most intimate secrets of life. According to C. Lambroso, geniuses always eagerly took up the resolution of the most difficult and incomprehensible questions.
Geniuses were distinguished by the ability to see the dark sides of things, they were always attracted by asymmetry, emptiness and chasms. Geniuses are focused on the perception and search for flaws in objects, their gaps, disharmonies, imperfections and key contradictions. In this sense, this ability is close to the understanding of creativity by E. Torrance, who singled out the ability to heightened perception of shortcomings, disharmonies and gaps in knowledge as its essential characteristic.
Genius distinguishes taste and readiness for problems, riddles, mysteries, confusing, unusual and paro-sexual situations. At the same time, the scale and depth of its accomplishments makes it possible to overcome the object-material, problematic approach to the world, elevating it to an intimate knowledge of the most intimate secrets of being. To know the creative subjectivity of a person - wrote G. Marcel - means to understand his being as a “secret”, and not as a problem. The sacrament (le mystere) is something that fascinates me completely, conquers my feeling. It blurs the boundary between the subject and the object, merges I and not I, involves all my existence. ”
N. Berdyaev wrote: “Creative philosophical thought is impossible if there is no problematic sphere, there is no painful effort to resolve new issues, there is no search for truth that does not fall from above in a ready, frozen form, there is no agony of spirit”.
At the same time, genius is distinguished by the ability to extremely exacerbate contradictions, reinforce the differences between opposites and at the same time see them functioning in a single, integral bundle. Awareness of the simultaneity of unrelated events, the “nesting” of different spaces and meanings into each other is often the cause of new bold discoveries. Thus, according to A. Einstein, he was deeply amazed and tormented by the unity and simultaneity of the existence of electric and magnetic fields of various nature, classical causality and randomness of phenomena, their discreteness and continuity. It was unbearable for him to realize that one and the same phenomenon could be caused by completely different reasons.
Understanding the essential duality, polarity, problematic and contradictory nature of the world, geniuses for penetrating into its secret depths, consciously used problematization as a creative device. M.M. Bakhtin wrote: “In Dostoevsky’s novels, questions are posed with such force that only extreme solutions are permissible.” All his characters are tense and extremely dramatic question about the meaning of life. “The secret of Kafka,” said A. Camus, “is in this fundamental ambiguity. He always balances between the natural and the extraordinary, the personal and the universal, the tragic and the everyday, the absurd and the logic. These vibrations pass through all his works and give them sound and significance. To understand an absurd work, it is necessary to sort out all the paradoxes, to give strength to all contradictions. ” Distinguishing and merging two equally interacting worlds - the fantastic and the real, which, in essence, are only manifestations of a single, mysterious super-real world, are the through motive of such outstanding masters as E. Hoffmann, F.M. Dostoevsky , E. Poe, H. Borges, H. Kortasar and G. Marquez.
Since the genius has the ability not only to simultaneously hold in the field of attention various contradictory characteristics of an object, but also simultaneously or alternatively apply oppositely directed methods of creative interaction with the world.
Realization of the connective: problematization — idealization implies the determination of the essential problem, which is based on the contradiction between the ideal and reality, and its solution according to an ideal plan with a focus on the ideal final result. At the same time, heightened awareness of opposites is accompanied by the presentation of their simultaneous functioning in a single integral bundle. Besides this, a genius, like no one else, readily and effectively applies in his life and work such a universal creative device as the transformation of harm into favor.
3. Decentration. The desire and ability to mentally replace the usual connections with unusual ones, loosening and destroying traditional ideas is an essential feature of genius. Only a genius, by virtue of its originality, self-sufficiency, conviction and subordination of an ideal goal, is able to freely overcome the inertia of scientific and social thought, functional fixations, stereotypes and patterns in all spheres of reality. Balmont expressed the essence of decentration as a convoluted mechanism and a fixed personality trait of a genius with the words: “I am a sudden break, I am the playing thunder”.
Decentration is also manifested in the desire to generate various approaches to the object of interaction, in the ability to change one’s position and take into account all possible points of view on reality. “On the subject, - wrote V.V. Rozanov, - you need to have exactly 1000 points of view. These are “coordinates of reality” and reality only after 1000 and is captured “
Generativnost, multiplicity of approaches are expressed in a special principle of ancient Roman aesthetics - copy (from the Latin. Copia - plenty, abundance), the adherence to which was considered a sign and dignity of great literature. The essence of copia consisted in wealth, abundance of details, epithets, variations. In his “Praise of stupidity”, Erasmus of Rotterdam successfully uses this technique, examining his main theme from various points of view, highlighting it in a silly, ridiculous, scientific, philosophical and religious light.
Such a multiplicity and variability - R.Grudin (1996) - is not just a method of expression, but a method of research and disclosure of the essence of things. This technique was successfully used by Rabelais and Montaigne, who liked to explore the subject from all possible points of view. On the other hand, decentration makes it possible to generate as many hypotheses as possible, ideas and principles for solving the problem, and at the same time ensures their substantial diversity, diversity and different levels.
Decentration is an essential feature of polyphonic thinking, understood as the ability to think in different planes, different coordinates, as the ability to grasp the polysemy of the world. (V.S.Rotenberg). At the same time, the action of the mechanism of decentration underlies such kinds and manifestations of creativity as divergent (J. Guilford) and lateral (E. Bono) thinking.
4. Simplification. Genius is understood as the ability to clarify, limit the simplification of diversity, as the desire and ability to organize and tame chaos. Genius in his work strives for the utmost content simplicity, purity and transparency of form, clarity and clarity of thought. Simplicity, coupled with depth and semantic layering, is the ideal, purpose and method of genius.
Virtually all geniuses titans admired simplicity, which they identified with beauty, and embodied its principles in their work. They were distinguished by the desire for the essence, the core of the world, the utmost composure, concentration, self-restraint, restraint and calm concentration.
The mechanism and reception of simplification manifests itself as a striving for the utmost simplification of the object, for getting rid of all the unimportant and confusing things, for achieving the lightness, clarity and transparency of the form and at the same time depth, compactness and accuracy of the content.
“The principle of simplicity" is one of the most universal and fundamental principles of the structure and development of the material and ideal world. It is expressed most succinctly and metaphorically in the famous principle, called "Occam's razor" and stating that: "You should not multiply entities without the need" ( U.Okkam, 1285-1349). "Every natural action," wrote Leonardo da Vinci, is generated by nature in the shortest way possible to find. "" Any weight tends to fall to the center along the shortest path. " The explicit laws of nature were curtailed and fixed in the form of methods of penetration into reality and became for the genius the rules of creativity and life.
In science, the principle of simplicity is an effective heuristic principle and the most important criterion of scientific nature, allowing you to choose as the most true most simple cognitive constructs. In addition, Newton and Laplace believed that nature is simple and all its infinite diversity boils down to a small number of laws, and Poincaré emphasized the connection between their intuitive obviousness and simplicity, between truth and beauty. A. Einstein wrote that the theory is the better, “the simpler its premises are, the more diverse the objects it connects and the wider its scope”, and the criterion of the theory’s truth is its simplicity. “The more fundamental the law, the simpler it is can be formulated, "read P. Kapitsa.
In practical life, the principle of simplicity is manifested in the natural desire to minimize effort, optimize and achieve the goal by minimizing costs. In the process of cognition, the principle of simplicity acts as a law of economy of thinking, introduced into the science by E. Mach.
Representatives of the linguistic school A.A. Potebni, applied the principle of saving thinking to explain the process of creativity. So, D.N. Ovsyaniko-Kulikovsky, P.K. Engelmeyer, V.I. Khartsiev, B.A. Lezin believed that a language that allows one to reflect a variety of contents in a single symbol saves thinking and energy, and saved energy is wasted on the process of scientific and artistic creation.
According to Hegel, it is the clarity and transparency of the form that is a sign of a talented work. In turn, George Sand understood simplicity, as “the limit of experience and the last effort of genius”. It was precisely this idea that Pasternak expressed with utmost clarity in poetic language: “In relation to all that is, asserting and knowing the future in life, one cannot help but end in unprecedented simplicity, as in heresy.”
Simplization was one of the fundamental aesthetic principles of Acmeism (from the Greek. Akme - the highest degree of something, a blooming force) - trends in poetry, the main purpose of which was to get rid of the "verific difficult forms" and vague revelations of the symbolists. liberation from all incomprehensible and dark in art, from the ambiguity and fluidity of images and complicated metaphor. N. S. Gumilev, O. E. Mandelstam, and A. A. Akhmatov, the founders and representatives of this trend, were distinguished by the desire for “excellent clarity” (M. Kuzmin), clarification of the meaning of things, “clarism” (from Greek clarus - clarity ), returning to the real, vital world, to the spiritualized objectivity, to the exact meaning of the word and the elements of nature. The most important task was the recognition and transmission of the “intrinsic value of each phenomenon”. “Love the existence of a thing more than the thing itself, and your being more than yourself - this is the highest commandment of Acmeism,” wrote O. E. Mandelstam.
In Eastern culture, in particular in the philosophy of Taoism, the principle of simplicity or the principle of economical and optimal action was presented in the form of the “principle of non-action” (u-wei), which was understood as deliverance from all vain, redundant, including targeted actions contrary to the natural course of things. The principle of non-action was manifested as non-interference in the natural order of things and the course of events, as “following things” and “doing things according to principles.” Accordingly, creativity is understood as, first of all, contemplation, listening to and comprehending the rhythm of the universe, as well as a perfect action, consistent with the natural course of the world order. A genius, a perfect man, a noble husband in Eastern culture is one who is in harmony with the structure, rhythm and senses of the universe, who in his work merges with the heavenly and natural naturalness, spontaneously self-fulfills along with things. A perfect man, a sage is not a subject of activity, an individuality in the Western sense, he is deprived of an egoistic, purposeful one, he acts in a free and independent way, at the same time remaining completely dependent on the laws of the universe
The initial fundamental nature of the principle of non-doing (w-wei) served as the reason for its transformation into a philosophical and psychological and aesthetic setting of the entire Eastern culture. A special place is occupied by the principles of simplicity and contemplative non-doing, in Japanese art, where they act as an organizing principle and artistic ideal and the basis of the aesthetic world view. Japanese art is distinguished by stinginess, coagulation, invisibility of the means of expression, the conviction that the beautiful lies in the small. Infinity of meanings and inexhaustible content is transmitted with the help of a stroke, a fragment, a "meaningful silence", a hint, a signal to experience the world. J. Kawabata, a master of simple, refined and elegant style, argued that the most difficult problem of artistic creativity is the problem of simplicity, the ability to see and convey things as they really are.
Simplicity, refined psychologism, conciseness permeate the art and everyday life of the Japanese realized through the use of such aesthetic rules and mechanisms as Wabi-sabi (jap. Letters. "Modest simplicity"). Leonard Koren wrote: “The meaning of wabi-sabi is in the insignificant and hidden, experimental and ephemeral: in things tender and fleeting, inaccessible to the coarse eye ... Simplicity is the heart of wabi-sabi.” At the same time, the refined simplicity, the melancholic refinement of Japanese art, the subduedness and restraint of form, are combined with strict simplicity, tough self-discipline, irrepressible spontaneity and the power of a concentrated spirit.
With particular force, the principle of simplicity is established in Japanese poetry - haiku (haiku). It cultivates the love of small forms, the utmost brevity and conciseness of poetic forms. The art of writing haiku is the ability to describe in three lines the moment of life, in which eternity shines through. One of the main aesthetic guidelines of this genre is the principle of "sabi", which calls for seeking beauty in simplicity, in the small, natural, ordinary and imperceptible. “Sabi,” wrote Suzuki, “suggests simplicity, naturalness, unconditionality, refinement, freedom.” This is just a hint, a signal to the experience of the world. In the simplicity of the images lies the true beauty, - considered M. Basho, a poet and theorist of verse, one of the most famous representatives of the genre of three hundred (haiku). Subsequently, the great poets Ösa Buson, Kobayashi Issa and Masaoka Siki expanded, deepened and democratized the subject of haiku, filled it with humor and true real life.
The implementation of the bundle “decarcation-simplization” is a universal development mechanism consisting in generating diversity and choosing the best options, it permeates and structures creative thinking, manifesting itself in the alternation of the stages of “ideation and choice”, “generation of ideas and their evaluation”. “In order to invent, you have to be in two faces,” said Paul Valery. - One forms combinations, the other chooses what corresponds to his desire, and what he considers important from what the first one produced. What is called a “genius” is not so much the merit of one who combines, but rather characterizes the ability of the second to evaluate the products just produced and use them. ”
5. 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. Genius is distinguished by absolute immersion in the world, selfless dissolution in it and the desire to merge with it into a single whole. This property is manifested in deep involvement in your favorite work, in the fate of your heroes and in experiencing the lives of many thousands of people.
The ontological basis for identifying an independent identification mechanism is the essential connection between objects and phenomena of the material world, their genetic unity and identity, expressed in the ancient Sanskrit formula "Tat twam asi" - "I am you", "Everything is in me and I am in everything".
A. Kostler (1964) singled out a special class of such higher emotions as sympathy, identification, admiration, awe, surprise, which represent the realization of universal tendencies of involvement and self-transcendence. It is thanks to the presence of feelings of belonging, identification and belonging that a deep experience of higher unity becomes possible, feeling oneself as part of a wider whole, which can be Nature, Humanity, Universal Order, the Soul of the World (Anima Mundi), God.
Identification is the core and the essential mechanism of such a universal, end-to-end ontological phenomenon like love, which, according to S.L. Rubinstein - is the basis of human existence, the statement of its existence and, at the same time, a way of knowing the unique individuality of another. M. Scheler wrote that the love of nature and man implies going beyond itself and the approval, encouragement and blessing of another being. “Therefore, love was for us at the same time and the original act by which the being, without ceasing to be given a limited being, leaves itself, so that both the ensuing intentionale to participate in another being ...”
At the same time, love itself was understood as a kind of universal creative force acting in everything. Love is dynamic, ”M. Scheler wrote,“ it manifests as self-expansion, contact experience, involvement in another, “it is the key formation and growth of things.” N. Berdyaev adhered to a similar view of love: “Love is a way out of the“ world of this, "from the gravity, constraint and rupture of the world into another world, the world of freedom and connectedness." "Love is creativity."
In addition, based on the thoughts of Augustine, that only in the act of love is the self-disclosure of the object itself and the bestowal of the knower to them, M. Scheler argued that without a tendency to exit from himself, without the love of the object, no knowledge is possible. This understanding of knowledge is related to the romantic worldview: "You can learn only what you love, and the deeper and fuller the knowledge should be, the stronger, more powerful and vivacious love should be, moreover - passion." - said I.V. Goethe , and G. Heine argued that "the deepest truth blossoms only from the deepest love." Creative identification as self-transcendence, as overcoming one's atomicity and dissolving in the world in order to penetrate into its deep essence and master it. With the help of the identification mechanism, the personality is immersed in objects of animate and inanimate nature, transfers itself to their time, space and causality, experiences and cognizes their internal impulses, circumstances and developmental logic. A. Bergson adhered to a similar view on identification, identifying it with intuition, understood by him as transferring into the subject, feeling into it, merging with its deep essence.
According to A. Melik-Pashayeva (1991), a truly creative, artistic relation of man to nature consists in a conscious, direct experience of his essential unity with her.
The artist "moves away from himself," opens his psychological boundaries, joins otherness, foreign awareness and in moments of creative inspiration becomes self-awareness and the voice of nature, the spokesman for her life.
The conscious experience of one’s direct unity with the world leads to the use of identification as an artistic method, as an effective and effective method of artistic creation. So one of the tenets of Chinese aesthetics is the statement: "To write a tree, you need to feel like a tree." M. Basho said that the main condition for writing a poem is to bring his mind into harmony with emptiness and, thus, to become objects of the surrounding world. “To learn from a subject is to immerse oneself in it. When you merge with him, feelings are born by themselves. " A. Matisse expressed a thought very close to the Buddhist attitude: “When you draw a tree, you need to feel how it grows.” The Armenian artist M. Saryan stated the same thing: “It is necessary to dissolve in nature and dissolve it in yourself. Merge with nature.”
At the same time, a magical, playful and artistic attitude to the world implies that the writer gets used to all the characters and circumstances of his work, animals, plants and inanimate objects, the vision and experience of reality from their positions. It is the identification with the images of the heroes that is.
Vzhivanie and empathy in the inner world of their heroes, experiencing their joys and sufferings, complete, selfless identification with them is one of the most productive techniques of literary creativity, the main source of emotional impact on the reader. C. Dickens was extremely worried about his heroes - he sobbed, laughed, winked at himself while writing stories. F.M. Dostoevsky, when describing the dialogues, spoke out loud and made gestures, while O. Balzac quarreled with his heroes and shouted at them, and at the same time loved his heroes and worried about them. "Listening to these people, I joined their lives; I felt their rags on my back, I myself walked in their torn shoes, their desires, their needs - everything passed on to my soul, or rather, I penetrated, I think, into their soul ". G. Flaubert and M. Gorky experienced physical suffering along with their characters, and L.N. Tolstoy and L. Andreev became in life similar to those whom they described. I.Turgenev after reading "Kholstomer" said to L. Tolstoy: "Listen, Lev Nikolayevich, really, have you ever been a horse." Identification is often consciously or unconsciously used in scientific and technical creativity. In this case, the researchers live in symbols, concepts and geometric spaces. They present themselves in the form of the objects and mechanisms under study, they experience the effects of the numerous influences and unique circumstances of these objects. In addition, in inventive creativity empathy (personal analogy) is used as an independent effective method of searching for original solutions (W. Gordon, 1972; G. S. Altshuller, 1979).
6. Meditation is understood as a universal mechanism of creativity, consisting in detachment and sensual isolation from the outer and inner world, in the separation and distancing from objects of interaction, impassive and fresh perception of their essences, connections, beauty and symmetry. The essence of meditation is to achieve a state of deep concentration, during which temporal and spatial orientation is lost, dependence on the object and all phenomenal worlds is overcome, liberation from its partisan, subjective "I" occurs. Meditation in the traditional sense is considered as a psychotechnical practice aimed at achieving an alternative state of consciousness. At the same time, the essence of meditation is to remove the inner and outer worlds from the signals, to achieve a state of detachment and reduced reactivity, to reach a certain center of “awareness” and dissolution in the Higher Consciousness.
The result of the implementation of the mechanism of meditation is to achieve detachment from the inner and outer world, to occupy the position of a pure, unbiased observer, temporary detachment, cleansing from one’s past and future, returning to one’s self. Meditation helps to get rid of subjectivity, from selfish desires and aspirations, which lead to a concentration on objects of personal significance and thereby distort perception.
According to L.P. Grimak (1987), the cause of this condition is temporary disconnection and rest of the left hemisphere, which is accompanied by a sense of inner renewal and purification. The world, as it were, is being rediscovered, and the freshness of the glance that emerges evokes a feeling of joyful satisfaction, which is the beginning of all creativity. Genius has always distinguished the desire for solitude, to detachment from everyday life and everyday life, independence from public opinion, from the imperfection of current circumstances. Preserving a sense of independence, disconnection, inner freedom and sovereignty of the spirit often became an independent goal and leitmotif of life-realization: “The world caught me and did not catch me,” G. Skovoroda said at the end of his life. At the same time, a sign of genius is the desire for absolute objectivity, impartiality, the removal from one’s narrow self and “The ability to lose sight of one’s own interest” (A. Schopenhauer).
In Eastern philosophy, the action of the universal mechanism of exclusion was represented by such a generalized, possessing metaphysical depth, ontological fundamentality and existential power of the term - non-attachment or passionlessness.
The concept of non-attachment served as the core of almost all Eastern ethical-philosophical systems and religions, manifested in each of them by the peculiarity of new semantic shades. So in Hinduism, she meant independence from the result of action, in Taoism as the attainment of emptiness and purity of mind, in Buddhism as the absence of desires and partiality, detachment from one's own "I" and phenomena of the sensual world, and in the main religions the rejection of everything By the absolute.
In Western philosophy, the universal mechanism of exclusion manifested itself as an effective, constitutive principle of such trends as Stoicism (Seneca, Marcus Aurelius) and phenomenology (E. Husserl). Thus, among the Stoics, the model of the perfect man was a sage who achieved virtue and apathy (from the Greek. Apatheia - the absence of suffering), understood as passionlessness, the absence of affects, passions, the ability to rule over oneself, and also autarky (from the Greek. Autarkeia - self-satisfaction) - state of independence from the outside world, other people and external circumstances.
In phenomenology, the removal is manifested in the implementation of the Epoch principle (from the Greek epohe - abstention), which is an exception to subjectivity, “bracketed” the external world and scientific knowledge about it, and abstaining from judgments about the world. Making Epoch, - wrote E.Guserl, - the subject excludes from the field of view all the ideas, thoughts, judgments, assessments piled up by the thought and seeks from the position of "pure observer" to make the essence of the subject accessible and obvious.
In art, the idea of exclusion or "aesthetic distance" was first put forward by F. Schiller. Goethe called this property of creative perception "naivete" naivety. In turn, Novalis emphasized such an important characteristic of artistic creativity as "The art of making an object strange and at the same time recognizable and attractive." This principle has found further development in the works of V. B. Shklovsky (1915, 1929), who singled out an independent literary device - estrangement. According to the author, the essence of this universal method is that the writer, observing a well-known subject, consciously puts himself in the position of a person who sees this one betraying for the first time. Reception of estrangement allows one to stir up a thing, “extract it from the ordinary,” to wrest from a number of familiar associations. The application of this technique consists in the ability to consciously put oneself in the position of a person who sees an object for the first time and in fact, to see the whole world in a new way through the idea of being strange and unfamiliar. Rabindranath Tagore wrote about such a pure and direct perception: “Do not say“ this is the morning ”and do not let it go, calling it yesterday’s name. Look at him for the first time, like a newborn child who does not yet have a name. ”
"Removal of the main subject of art" - claimed V. Shklovsky. The ability to detach from the object of interaction and at the same time from oneself, to get rid of subjectivity and to reach the state of cold, objective "cognitive exclusion" is the most important feature of any good writer. Thus, the effect of "estrangement" was used in his work L.N. Tolstoy, when, for example, he described an ordinary sofa with words that a person would use without knowing anything about the sofa and seeing it for the first time.
Later B. Brecht (1948) wrote that the original principle of art and the main method of the epic theater is the “alienation effect”. At the same time with the help of appropriate means of expression, the depicted everyday phenomenon is condemned, cut off, made unfamiliar and appears from a new side. The essence of the use of this technique "is that the thing ... from the familiar, well-known ... turns into a special, eye-catching, unexpected."
Higher detachment leads to the overcoming of attachments, the destruction of habits, the penetration into the true nature of things. The main goal of this mechanism is to get rid of bias, subjectivity, excessive emotionality.
So the Gonkur brothers wrote: "Concepts are born in peace, in a dream of spiritual activity. Emotions interfere with the birth of books." Max Ernst argued that the author should be detached and cold to observe the birth of his own work, to trace all phases of its development. Castaneda offered a special mental exercise "stop the world", which consisted in the perception of things in their primordialness and in the rejection of any prior knowledge about them. In turn, N. Gogol and A. Chekhov wrote about the beneficial effect of coldness and alienation from the subject on their work. “Art should be cold,” said I. Stravinsky.
“The estrangement,” considers G. G. Tulchinsky, “is inherent not only in art, but also in science, in general, any act of creative knowledge and understanding of reality”. Following Aristotle, who believed that "Philosophy begins with surprise," A. Einstein argued that the origin of scientific thinking was "an act of surprise" that occurs when "when perception comes into conflict with a world of concepts that is sufficiently established for us." P.Mac-Cready, one of the most fruitful inventors, wrote: "It is very important to start working with a clean sheet of paper - without any bias."
The realization of the “identification – meditation” bundle is an alternate and simultaneous activation of opposing mechanisms: complete identification with and objec- tion of an object, love getting used to it and its passionless contemplation. In the archetypal position of “impartial attachment” ( detached attachment ), formed in Hindu philosophy, the folded form contains the wisdom and creative productivity of the fundamental world relation. Here, inside, in the lumen of the ligament, in the space of higher dimensions, there are bright peak experiences, and their intensity and amplitude can be arbitrarily large, since in any case, they are permeated with pure consciousness and are subject to a free creative self.
M.M. Bakhtin (1929) in developing the problem of interaction with a work of art, stressed that to understand it, it is necessary not only to “get into” it, but also to remain oneself, taking the detached position of “out-of-finding”. This allows a dialogue with the author and the work, in which the subject does not otkrekatsya from himself, but not closed in isolation. In artistic creation, it is the preservation of a transparent aesthetic distance with an object, the “permeability” of which allows one to identify with the object, experience the effect of participation and presence, combine the conditional and real plans of reality (E. Ballou).
In addition, the alternate application of these mechanisms, namely, polycyclic implantation and separation from the object, is the basis of “Syintekti” (W. Gordon), the purpose of which is to awaken and enhance creativity by introducing a stranger to a friend, and a friend to a stranger.
7. Self-actualization is the most complete and free realization by the individual of his internal and external capabilities, the holistic realization of his universal creative potential.
One of the essential features of a genius is his striving for the realization of his lofty and bold designs, the greatness and beauty of the soul, wisdom and inner creative power, the striving for self-embodiment and the ability to give everything to the end. “The goal of creativity is dedication, not hype, not success,” wrote B. Pasternak. Self-actualization is understood as the unfolding of internal structures that, at the highest levels of personal development, can be ideas, plans, ideal models. Each realized opportunity gives rise to new ones and brings the subject to a new stage of development, changes and updates the external world. The basis of self-actualization is the basic human need for self-fulfillment, which is realized through such manifestations of personality as self-giving, self-expression, self-affirmation, free self-development. “Indeed, the ability to adequately manifest itself in its natural essence,” wrote Montaigne, “is a sign of perfection and an almost divine quality.”
At the same time it is a complete immersion in the present and the ability to extract the ideal from the actual reality, to see, to release, to realize the hidden possibilities of objects and circumstances. So still Aristotle noted that "Every thing is perfect in action and imperfect in potency," and the perfection of things consists in their actualization. In turn, A. Farabi noted that the beauty of an object consists in the optimal realization of its being.
Special semantic shades have the concept of self-fulfillment in Eastern philosophy. So A. Watts writes that the ideal of living in Taoism is to search for one’s own, unique way, to follow one’s own nature, to achieve spontaneity and sincerity and to give oneself.
The desire for creative self-fulfillment, for expression, the inner strength and grandeur of the soul, the whole diversity of talents and creative power for the first time becomes the essential quality of the genius of the Renaissance. This understanding of the essence of genius was also developed in Romanticism, in which the right of a creative person to free self-fulfillment, to expressing innermost secrets and the inexhaustible wealth of the inner world was asserted with particular force. Self-incarnation is inextricably linked with self-improvement and these two mutually directed processes unite in the process of individuation.
At the same time, self-actualization always expresses the inner activity of the individual, his ability for effort and conscious choice, his initiative, aimed at self-mobilization and self-disclosure. Existentialism speaks to a person, wrote J.P. Sartre, “that hope is only in his actions, and the only thing that allows a person to live is action.” At the same time, self-actualization, the self-realization of a genius, greater emphasis is placed on his self-objectification, the embodiment of the inner content in his works and masterpieces. “To be yourself, you need to be someone,” wrote E. Lec, and Pompey the Great stated: “I need to swim, but there is no need to live.”
Self-actualization is always real actions, efforts and actions, it is the realization of plans and ideal models, a flexible reaction to changes in the internal and external world. It is the spontaneous and open realization of internal potencies that enriches the individual with new internal and external opportunities, leading to his creative growth.
In his work “On the Psychology of Being” (1962), A. Maslow connects self-actualization with peak experiences, some dynamic experiences that arise at the time of optimal functioning. In the future, A. Maslow (1970) singled out a special, supreme type of transcendental self-actualization. At the same time, the personality overcame its own Self, experienced peak, transcendental experiences, became susceptible to such higher values as beauty, love, truth acquired a holistic, global consciousness.
Self-actualization is the basic mechanism of existence, the very implementation and development of the individual. It is inextricably linked with self-improvement, and these two mutually directed processes unite in the process of individuation. “Individuation,” wrote K. Jung, means: to become a single entity and, since by individuality we mean our deep inner, ultimate and incomparable uniqueness, to become our own Self. Due to this, “individuation” could be translated as "self-creation" or "self-embodiment".
The desire for open and sincere self-expression, the disclosure and emancipation of their unique potential is the most important condition and the most effective method of artistic creativity. So also the Chinese artist Xie Hae (4th century) among the 6 laws of painting formulated by him, singled out the first and most important of them ("Yitsun Shendun") - the inspired rhythm and lively movement. The initial dynamism of creativity was also expressed in the philosophical and aesthetic category of Zizhan (natural and spontaneity), which reflected the need for full and sincere self-expression in the creative process. The artist, concentrating and dissolving in the subject and following the brush, nevertheless follows his own way, conveying in the drawing the uniqueness, purity and originality of his soul.
Self-actualization manifests itself as spontaneous activity, a complex game with the world, reconnaissance in force, imposing oneself on the world and waiting for its reaction. “Sometimes,” wrote G. Moore, “I began to draw without any pre-set problem, with the mere desire to use pencil and paper, to create lines, tones and shapes, without any conscious goal; but as I got involved in the work of the idea, I became more and more recognized and crystallized, and I began to streamline and control my work. ”
This mechanism is extremized in some modernist areas of art that understand creativity as an act of full, spontaneous and uninhibited manifestation of true human nature, not distorted by numerous theories and social influences. So in one of the most influential art movements of the twentieth century, expressionism (from fr. Expression - expression), the main goal of the artist was not a reflection of life, but passing them through the inner world and the ultimate expression of pure entities. Its main principles were subjectivism, heightened emotionality and violent expression, dynamism, pronounced exaltation, exaggeration and tension of feelings, irrationality, drama, and fantastic grotesque. drama ecumenical conflicts. Vincent van Gogh, Edward Munch, Wassily Kandinsky, (painting), Richard Strauss and Richard Wagner (music), Franz Kafka, Rainer Maria Rilke, Georg Trakl, Juhan Augustus Strindberg, Leonid Andreev (literature). Self-actualization is a carrier wave, all other mechanisms as its various reflections and manifestations can coherently superimpose on it, giving rise to an explosive opening of reserves, a resonance called creativity.
8. Personification is understood as the conscious endowment of objects of the external world with subjectivity, independence and activity, ascribing human features and properties to them, giving them the ability to self-develop, self-develop and independently update new, sometimes insignificant and weak, but necessary properties.
At the same time, the main goal of personification is the activation of interaction objects, their release, deployment and strengthening of their essence. Through the implementation of this mechanism, it is possible to uncover the unique capabilities of the object, to allow the internal source of energy and strength to be hammered, to force yourself to move towards the ideal. At the same time, the development of own activity of objects is achieved by creating holistic, self-generating and active structures capable of self-development.
V. Wundt (1897) argued that the basis of mythological thinking is the deep, essential property of human nature to endow unknown phenomena with supernatural powers, abilities for magical influence. This property of a person can change, be filled with new content, but always preserve its essence. This property is the mechanism of personification, which evolves from the subconscious, performing protective functions, to a conscious creative device and method.
Personification is a universal mechanism of mythological thinking, consisting in the revitalization and endowing with human traits and properties of things, plants, animals, ideas and abstract concepts. So in the hymns of the Rig Veda, 3399 gods are mentioned, the god of food, grass, language, fire, sky and love. The most primitive forms of mythological thinking are: animism — animating nature and fetishism — endowing objects with magical qualities.
At the same time, the personification mechanism reflects deeper and more universal principles of the interaction of the individual with the world. Its essence is expressed in the conscious activation of the opposite pole of interaction, in increasing the significance and activation of the external world, self-actualization of other people, in strengthening, developing and “releasing” objects of the external world.
The philosophical foundations of this mechanism proceed from the famous Daoist principle of “non-action” (y-wei), which consists in allowing nature to follow its own way, in refusing any violent change in the naturalness of things, in complete submission to the world, granting it the right to be active, following its objective laws. Personification is also manifested in the universal "principle of non-interference", which consists in the ability to optimally use "energy" and the possibilities of the external environment, in allowing circumstances to move independently to the desired result, and to problems disappear and resolve spontaneously.
Geniuses have always been distinguished by deep inner recognition and admiration for the beauty of the inner order of the Universe, submission to the most profound and essential laws and principles of the world. The wisdom of geniuses is expressed in the words of Marcus Aurelius: “Do not intrude into the natural course of things, allow events to move under their own power, only to help them. Let everything go "by itself", in its own way. "
Personification, to a certain extent, is understood as sacrifice, which consists in abandoning my current, imperfect self, for the birth of a new true, creative self. “I became happy and strong only then,” wrote B. Russell, “when I stopped working on myself” . The original sacrifice, which lies at the basis of all creation, is manifested in genius as the ultimate self-giving, the rejection of all ordinary goods and pleasures, the subordination of oneself to work, idea, vocation. Self-sacrifice, renunciation of the subjective I, always generates the activity of the second pole of the universal dialogue “Personality-Peace”, causes the birth of the muse, leads to the manifestation of higher and pure essences of the world. In this case, it is not just self-restraint and renunciation of one’s Self that occurs, but going beyond a closed system, overcoming one’s atomic Ego and joining external creative power, giving away an imperfect self to a perfect world.
R. Kipling wrote about the role of his personal demon in the works. "He came and said -" Do this and not otherwise. " I obeyed and was rewarded. When your demon take care of you do not try to think. Surrender to his will, wait and submit.
In addition, the suspension of the activity of its actual self, accompanied by plowing itself to the world, achieving a state of utmost openness and heightened sensitivity. The Creator consciously increases receptivity, becoming “the perfect channel for positive power” (Krishnamurti). According to M. Heidegger, he begins to "listen to being," and when he manages to hear the voice of being, then "concrete solutions" begin to come by themselves. Not “subjectivism” and transformative activity, says M. Heidegger, allows a person to solve all problems, but “openness of being,” finding his true “home”. Vincent Van Gogh described the process of his creativity in the following way: “I saw that nature spoke to me, told me something, and I kind of captured her speeches”.
The creative essence of the personification mechanism consists precisely in the use of energy and the positive power of objects and circumstances, in active co-creation with animated, awakened, activated and strengthened objects of the external world. Possession of the surrounding reality, wrote T. Lipps (1903), occurs to the extent that we assign our own strength, activity, will and desires to external objects.
Creative personification includes the conscious formation of self-sufficient, self-generating structures of the external and internal world, which are beginning to serve the subject of creativity, and their energy is actively used to achieve their goals.
The genius in the process of his creativity creates the virtual worlds, self-sufficient active structures that possess autonomy, efficiency, energize, motivate and guide their creator. The work of the artist, - wrote S. Arieti (1976), - becomes adalistic. A work as a second reality acquires its own life and becomes independent of the artist. This is the "Pygmalion effect", representing the revitalization and the attainment of independence of the work, the creation of consciousness. I.V. Goethe wrote: "I did not create my songs, my songs created me."
In turn, the endowment of objects with their own activity, the ability to complete and develop themselves on their own is the most important strategy and the most effective technique of artistic creation. There is, according to K. Paustovsky, a "rebellion of heroes", which should not be avoided and feared. "On the contrary, it is natural and only testifies that true life broke through, filled the writing scheme and spread and broke the framework of the original writing plan with its lively pressure." I.Goncharov also spoke about this phenomenon: “... Persons do not give rest, stick, pose in scenes, I hear excerpts from their conversations ...”.
In teaching practice, the most talented teachers consciously give students the right to free activity, they try to captivate and inspire them, to form the need for an independent search for truth. The same universal mechanism is used in the management process and by effective leaders who see the secret of their success in the ability to arouse in people the enthusiasm and strong desire to independently fulfill the necessary. In turn, in the inventive works of super-strong and beautiful solutions involve the creation of conditions for the self-resolution of the key contradictions of the object.
A bunch of “self-actualization-personalization” mechanisms manifests itself in the alternation of free expression and activation of the objects of the external world, in making active transformative efforts and allowing the world to be and follow its laws, in spontaneous activity and “active non-action”, in self-assertion and self-denial, in conquest of the environment and submission to it.
It is necessary to emphasize the special significance of personification - the final mechanism of the matrix, which, by the essential evolutionary ring, is connected to the idealization mechanism, which is located at the opposite end of the spectrum. At the same time, the new fundamental link “personification-idealization” reflects the super-essential relationship with the Absolute through the mechanisms of faith.
The creative method is implemented by alternately and simultaneously activating and maintaining a balance between the poles of the dialectic connectives of different levels: “idealization –problematization”, “decentration – stimulation”, “identification-meditation”, “self-actualization-personification”. The universality of these mechanisms of creativity is manifested in the fact that each of them is an explanatory trend, expresses an essential feature and can generate an independent private theory of genius.
| Problematization Genius is manifested in the particularly acute experience of the tragedy of the epoch, the imperfection of total being, the drama of social processes and the suffering of each individual simple person. At the same time, the genius has the gift to see in every phenomenon, the object of reality, their deep-seated conflicts, essential contradictions and imperfections. | Idealization . The vital activity and creativity of a genius is understood as a way of searching, affirming and realizing great ideas, higher values and ideals. This mechanism is manifested as a passionate striving for perfection, for everything high and great, for attaining the highest standards and goals, for beauty, harmony and the first truth, for spiritual perfection, for creating masterpieces and fulfilling the highest purpose. |
| Decentration. The desire and ability to mentally replace the usual connections with unusual ones, loosening and destroying traditional ideas is an essential feature of genius. Only a genius, by virtue of its originality, self-sufficiency, conviction and subordination of an ideal goal, is able to freely overcome the inertia of scientific and social thought, functional fixations, stereotypes and patterns in all spheres of reality. | Simplification Genius is understood as the ability to clarify, limit the simplification of diversity, as the desire and ability to organize and tame chaos. Genius in his work strives for the utmost content simplicity, purity and transparency of form, clarity and clarity of thought. Simplicity, combined with the depth and richness of meanings, is the ideal, goal and method of genius. |
| Identification. Genius is distinguished by absolute immersion in the world, selfless dissolution in it and the desire to merge with it into a single whole. This property is manifested in deep involvement in their favorite work, in deep penetration into the inner world and the fate of their heroes and in experiencing the lives of many thousands of people, in active love for others. |
Meditation. Genius is characterized by the ability to be removed from everyday life and everyday life, the desire for solitude, to sensual isolation from the external and internal world, to independence from public opinion and from the imperfection of current circumstances. Genius is distinguished by an unusually developed sense of inner freedom, the sovereignty of the spirit and the uniqueness of its existence. |
| Self-actualization. One of the essential features of a genius is his striving for spontaneous and sincere self-expression, for the most complete embodiment of his lofty and bold designs, for affirming the greatness and beauty of the soul and inner creative power, striving for self-embodiment, self-sacrifice and ability to give everything to the end. | Personification is understood as the ability of a genius to open up to the world, to awaken, activate, living and inanimate objects to endow them with subjectivity, to provide the right to free, independent development according to their own laws. Genius is able to awaken and dynamize worlds and freely use their energy, resources and capabilities. |
Часть 1 Mirogenny theories of genius
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Psychology of creativity and genius
Terms: Psychology of creativity and genius