Theories of creativity

METAPHYSICAL-TOPOLOGICAL MEASUREMENTS OF CREATIVITY
Understanding the phenomenon and the inner nature of creativity requires the ultimate opening up of semantic contexts, a radical expansion of the methodological framework for its study, finding reliable explanatory principles based on universal structures and laws of the existence of the world. Empirical studies of creative activity should be accompanied by the disclosure of the fundamental bases and super-experienced beginnings of reality, which determine the necessary conditions, sources and the very possibility of the existence of creativity and creative potentialities of the personality.
In the broadest sense, creativity is defined as the mode of existence of some absolute, primordial and unconditional primordial essence, which is constituted and manifested with the help of primordial universals: freedom, opportunity, the whole, and interaction.
These universals are hollow, invisible and immeasurable. They draw coordinating semantic frameworks and represent universal, qualitatively peculiar "places", some independent, existing according to the laws of self-awakening vacuum, "retracting" spaces. At the same time, their architectonics can be manifested and seen by building their generalized topological model or “Entity Map”.
The productivity and heuristic power of the universal "entity map" consists in highlighting empty places and predicting possible, not yet sufficiently declared, but nonetheless equal, entities and the whole areas of living reality behind them and, therefore, highlighting possible trends and development trajectories. .
With the existence of numerous and various topological models, the maximum completeness and simplicity of generalization of reality phenomena is achieved using the method of system description V.А. Hansen (1984), in which as the initial organizing matrix is ​​chosen some organizing Pentabase consisting of four adjacent and one unifying concept.
So, when disclosing the highest, universal “matrix of entities” of creativity, it is advisable to present its fundamental dimensions in the form of Pentabase consisting of two interrelated pairs of primary essences “Interaction - Whole” (Being) and “Opportunity - Freedom” (Nothing), which are combined, mutually agree and balanced by the ultimate essence of the Absolute. At the same time, every phenomenon and variable of the manifested creative reality must necessarily undergo a procedure of localization, chronologization and correlation with the central primordial essence and with its fundamental dimensions.
In an extremely broad, metaphysical-topological terms, creativity is understood as a way of existence and manifestation of the Absolute, which develops through the manifestation of its universal dimensions - freedom, opportunity, the whole and interaction.
This higher transcendental flow on a personological level manifests itself as a Creative Vision, is experienced as an inner, deeply intimate reality and is objectified in the phenomenal worlds in the form of material and spiritual values.

table1 Essential dimensions and universal manifestations of creativity

The following pictures are used in the table: Salvador Dalí, Tomek Sętowski, Jamile Baldridge, Greg Spalenka

Ontological and universally creative nature of the psyche
The psyche or mental organization of a person is ontological in nature (A. Vallon, SL Rubinstein) and at the same time it is subordinated to the cosmic creative principle and is identical with the source of creation (S. Grof). Psychic reality, as primordial integrity, is not determined by biological, sociological, personal, and even cultural determinants, but includes them as higher, already manifested, and mastered levels.
The psyche, as a reality and at the same time a reflection of reality, is holographically embedded in the Universum, and as a continuous, self-developing “image of the world” (A.N. Leontiev) is woven into the process of evolution. At the same time, it is a living microcosm and is subject to the most general and universal principles and laws of the functioning and development of the world as a whole.
The universal structure of the psyche naturally includes the whole spectrum of manifestations of consciousness and contains unconscious and transpersonal states, as well as its pre-object and meta-subject developmental stages.
In addition, the psyche is primordial, universally creative, its productive functioning is the construction of a dynamic image of the world, and its essential mechanisms are isomorphic to the mechanisms of creativity (V.T. Kudryavtsev).
Thus, the original “Entity Map”, the main dimensions of which are dialectic bundles “interaction – whole”, “freedom – opportunity” and integrating their absolute , create organizing and explanatory spaces for both philosophical theories of creativity and for those based on research and the explanation of such basic mental processes as: “memory is thinking”, “intuition is imagination” and the underlying perception.

PERSONOLOGICAL MEASUREMENT OF CREATIVITY
A special task is the introduction of the subject in the entity map, identifying the relationship between the person and each of the entities. Man gives them meaning, value content, relates to the entire spectrum of the needs of the sphere. Entities can exist only through man. Without a person, there are no entities, as without a human ear, there is not only music in the world, but also the sounds themselves, created from "raw" waves and vibrations.
The organic inclusion of a person in the map of universal entities occurs through creativity, which, as a way of existence of the Absolute, is the original entity, as well as the highest form of manifestation of human life.
Creativity manifests itself as an independent effective unconditional first essence, which defines itself, with which reality correlates, and which itself justifies the phenomenal world. “The actual content of reality,” wrote LM. Lopatin, - should be explained from his conformity with the supreme ideal, which carries out in his creations an absolute creative activity. ”
Creativity itself does not need to be attributed to the original, to any more fundamental essence or universal value. It is itself at the beginning and in the center of the world, and is the causa finalis, the source of everything and the highest point of correlation. Creativity supports the universe, is the axis around which invisible universals rotate, as well as phenomenal and possible worlds. The fundamental principle and originality of creativity has always been emphasized by N. Berdyaev: "Creative experience is not something secondary and therefore requiring justification - creative experience is something primary and therefore justifying." With such a formulation of the problem, the question of the fundamental conditions of creativity loses its meaning, since creativity acquires metaphysical unconditionality, ontological primacy and existential self-sufficiency. The conditions of creativity unfold from within, and the external and internal repeatedly include each other, obeying a special recursive causality. This kind of causality is created in the flow of activity of a unique creative personality. “Causality understood from the inside,” wrote LM. Lopatin, is a creative act of a living being. The reason creates, creates a consequence. Cause is creative energy and offers a being with this energy. Causality is impossible without the creative, the creative. " Creativity as the first essence, appears in the form of a Platonic idea about which A. Whitehead wrote: "She has the creative power to create the conditions for her own realization."

PSYCHOLOGICAL THEORIES OF CREATIVITY

Mel Rhodes (1961) in the article “Analysis of creativity” (1961) after analyzing 40 definitions of creativity and 16 definitions of imagination developed and substantiated a holistic model of creativity - 4 Ps , presenting it in the form of an interaction of 4 factors: process, product, personality, and environment (process, product, person, press). In turn, Ross Mooney (1962) in The Conceptual Model for the Integration of Four Approaches to the Definition of Creative Talent also proposed to consider creativity through the prism of the 4 Ps model (process, product, person, environment).
Stuart E. Golann (1963) replaced the notion of environment, the closest meaning of the term “place” and his 4Ps theory (process, product, person, place) became the structural basis for organizing the study of creativity. At the same time, “place” (place) was understood as a problem or socially organized environment. Identifying the concepts of leadership and creative activity D. Simonton (1988) expanded the list of organizing categories and introduced the fifth P - persuasion (persuasiveness). In turn, Klaus Urban (2003) adds three new dimensions — the process, the product (product) and the person (person) to add a new one — the problem, leaving the environment category . At the same time he brings a new formula of creativity: 4Ps-E.
These theories were built on the basis of a generalization of empirical experience, in strict accordance with scientific criteria and principles of evidence and rationality.
At the same time, there is another reflexive way of exploring creativity, consisting in the initial construction of its conceptual constructs and topological models that define broader contexts and plans for understanding and highlight facts and phenomena that are inaccessible to direct observation and empirical research. The given initial explanatory constructs are chosen arbitrarily, intuitively, by seizing the deep archetypes and universal structures of reality.
As such an initial semantic context, one can choose the vital world of a person, or rather, the totality of phenomenological worlds in which a person’s free self-realization and creative dialogue with the world takes place.
The maximum possible completeness of the description of the existing and possible empirical experience is achieved by introducing it into the configuration of contexts of phenomenological worlds, by building some topological construct - pentabase, uniting the subject and symbolic, internal and social worlds, as well as culture as the center of their integration. This pentabasis has a powerful explanatory and heuristic potential and surprisingly includes the main dimensions or domains of creativity (process, product, personality and environment), obtained empirically.
At the same time, creativity is represented in a very broad sense as a holistic, continuous, structured by universal laws and structures, the flow of creative vision, projected into the basic, phenomenal worlds and manifesting itself with the help of elements, structures and basic laws of these worlds. Creative vision is a self-sufficient form of activity, harmoniously including and integrating all other forms of creativity. So in the objective world, it manifests itself as a productive creative activity , in the symbolic as a creative solution to problems, in the social, as a creative dialogue, in the inner world as creative self-realization.
The highest form of creativity, which is determined by the laws of the cultural world, manifests itself as a creative vision, co-creation with the world, creative semantic adaptation, harmonization with the meanings of the Universe, and also as semantic creation, as a process of scooping up and endowing with the reality of developing, creatological meanings.
The semantic structures are the highest, nuclear, integrally-transcendental formations of the personality, and the meaning itself is equivalent to the existence of the personality in the world and in life itself. “Some called him the fourth,” wrote V.P. Zinchenko, some - the fifth dimension of being. Although he should be called first. ”
Meaning and understanding of reality are the central dynamic components of the highest form of creativity - a creative vision that includes creative activity (product), problem solving (process), self-realization (person) and creative dialogue (place). In this regard, to uncover the deep essence of creativity, it is advisable to introduce the fifth element, some central dimension - sense (sense), and the classical model in the form of 4Ps / S - process (process), product (product), personality (person), environment (place), sense (sense) *.

* Markov S.L. Formuvannya creative bachchennya special features yak is a universal method of activating creativity. Actual Problems of Psychology-Volume 1: Organizational Psychology. Economical psychology. Social psychology: zb.nauk.prats / ed. S.D. Maksimenka, L.M. Karamushki. - K: View of “ASK”, 2011. - Vip.32.- P.374-380.

Creativity is rooted in culture, human practice, social world, textual reality and in a unique existential experience. Creativity is not only and not so much a process, an ability, a product or a specially organized environment, but a universal beginning, a multidimensional dynamic space, a self-sufficient and generating primordial essence, manifested in phenomenal worlds in the form of effective problem solving, free self-realization, productive activity and creative dialogue.

Table 2. Forms of creativity in the phenomenal worlds

BASIC PHILOSOPHICAL AND PSYCHOLOGICAL CONCEPTS OF CREATIVITY

1. Understanding of creativity as the deployment of the Absolute, the creativity of nature and the universal process of evolution

1.1. Creativity as the embodiment of the Absolute and the co-creation of man with the Highest creative power.
Man as an intermediary between earth and sky, as an active, creative force - “ qian” ( “The Book of Premen” (“I-Ching”), 16-12 centuries BC); Creativity as a secondary act of creation, as the unity of Brahman and Atman (Hinduism, 15th century BC); The principle of analogy of human creativity and divine creativity, committed according to the laws of harmony (Neo-Pythagoreanism, 1st century BC-3 century AD); The emanation of the One, due to the fullness and excess of potencies (Plotinus, 3 v. BC, Proclus, 5 v. BC); Co-creation as One Breath with Absolute Reality (Ibn Arabi, 12-13 cc.); Merge and State with the Divine (M. Eckhart, 13-14 centuries); The unity of the creator and creation, the creative power of man (N. Kuzansky, 15th century); Co-creation with the Absolute and nature through transcendental intuitive contemplation (F. Schelling, 1802); Self-discovery of the Absolute Spirit (Hegel, 1807); The embodiment of beauty, harmony, perfection and spirituality that rest in nature (R. Emerson, 1836; G. Toro, 1854); The concept of “transcreation” - an additional creative act of God, raising the soul from animality to humanity; Realization of the creative divine willpower living in man, the free creativity of substantial figures (N.O. Lossky, 1906, 1927); Creativity as a super-individual experience, “avoidance of personal emotions”, expression and development of the tradition that lives within (TS Eliot, 1920, 1932); Creativity as a free self-realization of the individual, as a spiritual being, transforming and embodying absolute values ​​(R.T. Flülling, 1926); Realization of universal archetypes (C. Jung, 1928); The co-creation of Man with God (N. Berdyaev, 1935); Human creativity as an expression of absolute creative, universal power (Nishida Kitaro, 1927, 1945); Creativity as a constituent principle and mode of being of a personality - the primary creative reality (E. Mounier, 1936); Evolution as a concentration and planetarization of consciousness (Teilhard de Chardin, 1955).

1.2. Co-creation with a Higher Creative Force through the attainment of higher states of consciousness. Achievement of liberation (moksha) and dissolution in the Absolute (Hinduism, 15 in. D. N. E); Creativity as a fruit of divine inspiration (Plato 5-4 centuries. BC); The state of “super-mental” ecstasy and the ecstatic ascent of the human soul to the One (Plotinus, 3.b. BC, Proclus, 5.b. BC) "Prophetic Inspiration", transcendental ecstasy (R. Emerson, 1836, G. Toro, 1854); Achievement and realization of Cosmic Consciousness (Richard Beck, RM Bucke, 1901); Mystical psychography, automatic writing, clairvoyance (T. Flurnua, 1900); Divine Intuition (J. Maritain, 1953); Activity of supraconsciousness (P.Sorokin, 1961); Peak experiences, transcendental ecstasy (A. Maslow, 1968); The unity of creativity and Psi – phenomena: motivation, relaxation and dissociation (Gardner Murphy, 1969); Transpersonal experiences and perceptions (Roy Dreistadt, 1971); Extrasensory perception, hypersensitivity, telepathy (S. Krippner, Gardner Murphy, 1966, 1973); Realization of creative higher states of consciousness (S. Tart, 1975), Dreams as the unfolding of a hidden order (M. Ulman, 1973, 1979); Achievement of the State of the Flow (M. Chiksentmihaii, 1975); Creativity as the activity of the superconscious (K. Stanislavsky, 1926, 1938; P.V. Simonov, 1975), the superconscious (MG Yaroshevsky, 1983); The manifestation of the highest unconscious (the highest form of intuition and inspiration) (R. Assagioli, 1973); The manifestation of the superconscious and the realization of the Spectrum of creativity (V. Harman, H. Reinhold, 1984); Creativity as transcendental meditation (R. Walsh, D. Shapiro, 1984, 2006; Michael Murphy, S. Donovan, 1988, 1997; M. Kwee, 1990; M. Murphy, R. White, 1995; R. Horan, 2009) ; Expansion and expansion of consciousness and realization of universal creative power (S. Grof, 1998).

1.3. Creative vision of the world. Spiritual vision (darshan) as an intuitive insight and rational understanding of reality (Hinduism, 15th century BC); Contemplation ("jing sy" is a refined thought) as the fullness of mind (guan) and visualization (tsun xiang) (Taoism, 6th century BC); Insightful vision (Vipashyana) and enlightenment ( Buddhism, 6th c. BC); Contemplation of ideas, entities and beauty (Plato, 5th century BC); The highest value of metaphysical, “unselfish contemplation” as the beginning of knowledge (Aristotle, 4th century BC); Spiritual vision (Plotinus, 3 v.); Intuitive, inner, superconscious contemplation of entities (Augustine, 4-5 c.); Mystical transcendental vision of truth (Al-Ghazali, 11-12 centuries, Ibn Arabi, 12-13 c.); Achievement of the catori and the attainment of a new vision (Zen Buddhism, 12th century); Artistic, productive contemplation (F. Schelling, 1800); Creativity as pure contemplation of entities (A. Schopenhauer, 1819); Eidetic contemplation and constitution of meanings (E. Husserl, 1913); Transcendental, intuitive vision of entities and identification of consciousness with the world (N. O. Lossky, 1908, N. A. Berdyaev, 1916, S. L. Frank, 1917); The vision of personality as a source of creativity and the creation of worlds of culture (G. Simmel, 1911, 1918); The transition from action to vision, the unity of transcendental and phenomenological vision from the position of absolute emptiness "bass" (Nishida Kitaro, 1927); Aesthetic attitude and perception (AA Melik-Pashayev, 1990); Creative vision as a unity of creative position, higher state of consciousness and method (S.L. Markov, 1997, 2011).

Process: Creative perception: Perception of the world in an unusual way ( W. James , 1890); Special aesthetic sensitivity to the beauty and harmony of A. Poincare (1908); Creativity as the ability to see the old from a new angle (A. Einstein, L. Infeld, 1938); Sensitivity to problems ( J. Guilford, 1950); Creative visual perception, the unity of perception and thinking (R. Arnheim 1954, 1969); The fusion of perceptions implemented in a new way (Peter McKellar, 1957); Creativity as a perception of complexity and uncertainty (F. Barron, 1958); Creativity as allocentric perception and complete dissolution in an object (Ernest G. Schachtel, 1959); The ability to see the familiar in the unfamiliar and vice versa (J. Gordon, 1961); The process of perception of deficiencies and missing elements (E. Torrance, 1962); Creative, effective perception of reality as B – cognition (b-cognition) (A. Maslow, 1962, 1971); Creative vision: how to research and find problems (JW Getzels, M. Csikszentmihalyi, 1976); Creative Perception (KJ Goodman, DI Marquard, 1978); Perception, imaging and image as components of visual thinking and creativity (RH McKim, 1980); The process of manipulation of visual codes and cross-modal transformation ( J. Guilford , 1981, 1983); Perception as an initial and basic process of creative activity (Richard L. Gregory, 1970, 1987); Creativity as a perception of art (Antony J. Chapman, 1984); Conscious variation of the positions of perception (E. de Bono, 1985); The configuration concept of creativity (John H. Flowers, Calvin P. Garbin, 1989); Creativity as fullness of awareness, openness to experience and flexibility (Ellen J. Langer, 1989, 2000); Creative Perception (L. Friedel, 1992); Creative perception, cognition and dynamic representation (Steven M. Smith, Thomas B. Ward and Ronald A. Finke, 1992, Beverly Roskos-Ewoldsen, 1993); Creativity as a game perception (Herbert L. Leff, 1994); Creativity, perception, imagination, representation and transformation of mental images (Daniel Reisberg, Robert H. Logie, Geir Kaufmann, Maria A. Brandimonte, 1996). Creativity as synesthesia and cross-modal representation. Creativity and syncretism of perception (L. Marks, 1978; E. Lawrence, 1982; Audrey Dailey, Colin Martindale, Jonathan Borkum, 1998); Creativity as synesthesia (G. Domino 1989); Synesthesia and physiognomic perception (A. Dailey, C. Martindale, J. Borkum, 1997).
Imagery, imagination and visualization. Creation of visual images (imagery) and manipulation of visual codes (RN Shepard, 1978, 1981); Transformation of verbal problems into visual images (J. L. Adams, 1979); Creative visualization (S. Gawain, 1982); Creative perception and creation of images (percept-genesis) (S. Smitt, 1990, van den Meer, 1994); Creativity as imagery (S. Daniels-McGhee, GA Davis, 1994); Perception, imaging, visual presentation (RA Finke (1990), TB Ward, SM Smith, 1992, 1995); Perceptual activity, imagination and creativity (Nigel JT Thomas, 1999, 2002); Creativity as a visualization, de-automatization and synthetic process (G. Cupchic, 1999); Visualization and creative problem solving (R. Arp, 2005); Computer model of creativity based on the theory of perceptual activity (PJ Blain, 2006).
Analogous perception. Synthetic perception and poetic metaphor (L. Marks, 1982); Higher perception as creating analogies (DJ Chalmers, RM French, DR Hofstadter, 1992, M. Mitchell, 1993, CT Morrison, E Dietrich, 1995, KD Forbus, D. Gentner, AB Markman, RW Ferguson, 1998, D. Hofstadter, 2001).
Creative attention. Creativity as a defocused attention, expanding the field of attention (G. Mendelsohn, 1976, J. Kasof, 1997, C. Urban, 2003); Information concentration and spreading over semantic networks (C. Martindale, 1995); The process of focusing – defocusing attention (PA Howard-Jones, S. Murray, 2003); Creativity as selective coding, selective comparison and selective combination (T. Lyubart, 2003); Focusing attention as a factor of creativity (R.S. Fridman, 2003; L.Ya. Dorfman, V.A. Gasimova, 2006; O.M. Razumnikova, 2008); Creativity is both variability and flexibility of attention (O. Vartanian, 2009).

1.4. Creativity of nature. Deployment of prakriti (creative potency of nature) through 3 gunas - principles of creation [sattva (light, wisdom), rajas (passion), tamas (inertia)] (Mahabharata, Bhagavad-gita, 6-4 c. BC) e); Entelechy, as an internal active principle and a striving for morphogenesis (Aristotle, 4th century BC); Creativity of a genius, as a manifestation of the innate abilities of the soul, whereby nature gives rules to art (I. Kant, 1790); The manifestation of the Universal Will (A. Schopenhauer, 1819 c.); Creativity as the essence of nature, the essence of life (L. Fairbach, 1843); Evolutionary Love (Charles Pearce, 1893); Self-development and self-disclosure of the world as a hierarchy of personalities ( V. Stern , 1906-1924); Creative evolution (A. Bergson, 1907); Creativity as a continuation of the evolution of living nature (A. Lezin, 1907; P. K. Engelmeyer, 1910); Creativity of animate and inanimate nature (MA Bloch, 1920); Emergent evolution (S. Alexander, C. Lloyd Morgan, 1923); Creativity as a reconstruction of the birth process (O. Rank, 1924); Realization of the Cosmic Cosmic Force (A. Whitehead, 1929); Manifestation of Life Force (George Coghill, 1929; Herbert Read 1943; S. Buhler, 1951; E. Sinnot, 1955, 1957; F. Dobzhansky 1954, 1974), Higher manifestation of the principle of self-duplication (Herbert Gutman, 1961); Creativity as the quality of protoplasm and the primary, fundamental quality of life (Harold H. Anderson, 1960); Creativity as a Vital Force (d'Arsy Hayman, 1960; G. Kneller (1965); A Model of Creative Generative Grammar (N. Chomsky, 1955, 1967); Creativity as Increment, Repetition and Mutual Growth (George TL Land, 1974); Creativity as a productive form of development (Ya.A. Ponomarev, 1976); Creativity as a special form of development (D. Feldman, H. Gruber 1982, 1986); Recursive deployment of a basic system (AV Anisimov, 1988); Creativity as a form of evolution (H. Blum, 1995, 2010; L. Gabor, 1997; KK Urban, 2003); Global, universal evolutionism (E. Jantsch, 1980; F. Capra, 1989; NN Moiseev, 1989; Harold Mor vic 2002 Thomas Lombardo, 2011), theory of creative processes based on evolutionary megasinteze (AG Yushchenko, 2008).

Process: Creativity as the creation of combinations and selection . Spontaneous creation of random images that are selected by the external environment ( W. James, 1890); Generation of random combinations or ideas and their creative choice (A. Poincaré, 1913); The production of random combinations of possible solutions to the problem and their critical evaluation (J. Hadamard, 1954); Blind change and selective preservation: variations, selection and preservation (D. Campbell, 1960); Generation of alternatives, choice, preservation (D.N. Perkins, M. Chikszentmikhai, 1988); Random changes, the formation of configurations and social acceptance (D. Simonton, 1988).

1.5. Creativity as a mutual transition of Being and Nothing. Emergence and disappearance as mutual transitions of chaos and space, limit and infinity (Anaximander, 7-6 centuries BC, Pythagoras, 6-5 centuries BC); The generation of being in nonexistence, in the process of the continuous transition of the universal polar forces of yin and yang into each other ( Lao-Tzu , 6th-5th centuries BC); The flow of becoming enclosing being and non-being as separate aspects (Heraclitus, 6-5 centuries BC); Creativity as a transition from non-being into being (Plato, 5th century BC); Generation as a transition from an invisible state to a visible one (Sext Empyric, 2nd century AD); Creativity as self-development and folding of the absolute, as a coincidence of opposites (coincidentia oppositorum) (N. Kuzansky, 1460); Development and formation as mutual transitions of being and non-being (Hegel, 1806).
Synergetic model of creativity. Autopoeoses: self-generation, self-organization, self-production (U. Maturana, F. Varela, 1973); The universal process of the birth of order and form from chaos (R. May, 1975); Creativity as a spontaneous generation of order from chaos (I. Prigogine, 1980, 1984; G. Haken, 1981); Creativity and development as spontaneity and directional transformations (D. Feldman, 1988); Spontaneous self-organization of Metaconsciousness (V.V. Nalimov, 1989); Creativity as a self-organization, as a movement from chaos to integrity and coherence (F. Barron, 1990); Creativity is like overcoming chaos, combining order and disorder and creating qualitatively new patterns. (V. Kenny, G. Gardner, 1988, E. Morin, 1994; S. Kauffman, 1995); Chaos as a creative beginning, as a complex order, as a condition, a source of self-organization and creativity (E.N. Knyazeva, S.P. Kurdyumov, 1988, 1992; D. Chernavsky, 1990; I.S. Dobronravova, 1991; V.I. Arshinov 1977; R. A. Brazhe, 2004; A. Koblyakov, 2010; O. I. Glazunova, 2012; The unity of the understanding of creativity in synergetics and in Eastern philosophy (F. Capra, 1989; E. N. Knyazeva, 1992; TP Grigorieva, 2002).

2. Creative Interaction
The relationship between a unique personality and materials, events, people, circumstances (K. Rogers, 1954); The transactional relationship between the individual and the environment (M. Stein, 1962); Model 4 dimensions of creativity (“the logic of life”): interaction with the world, with oneself, the mutual investment of one's self and the world, interconnection (R. Mooney, 1963); The fusion of heterogeneous elements, as the unity between the actions of the subject and the objective world (F. Hacker, 1965); Creativity as harmonious interactions of the individual with his environment (H. Anderson, 1965); The meeting, the relationship of man and his world (R. May, 1975); Creativity as a developing interaction (Ya.A. Ponomarev, 1976); Creativity as an adaptation, interaction with the environment and development (J. Piaget, 1971; Howard E. Gruber, Paul H. Barrett, 1974; D. Feldman, 1980); The interaction of personality with the organizational environment (WA Owens, 1969; P. Wesenberg, 1986; MJ Kirton, RM McCarthy, 1988; CS Koberg, LH Chusmir, 1987); Ecological approach to creativity (CL Rodgers, RE Kerstetter, 1974; M. Stein, 1975; R. Helson, 1988; D. Harrington, 1990); Investment theory of creativity, as the ability to "buy at a low price and sell at a high" (R. Sternberg, T. Lyubert, 1995,1997), Ecological, interactive approach to creativity, as the interaction between personality, process, product and environment (Donald J Treffinger, 1987; Scott G. Isaksen, Geir Kaufmann, Gerard J. Puccio, Mary C. Murdock, 1990).

Process: Creative associations and memory. Random combination of existing images and elements (Lucretius Carr, 1st century BC); Art as a combination of phenomena of reality (Apollonius of Tyana, 1st century AD); The process of combining, comparing and separating ideas (J. Locke, 1689); Associations as a mechanism for transforming simple ideas into complex ones (D. Hume, 1739); Associations of sensations, ideas, and feelings (J. Berkeley, 1709; D. Gartley, 1749); The interaction of productive imagination and transcendental apperception (I. Kant, 1781); Active unconscious associations (G. Herbart, 1816); Spontaneous associations in which the order of ideas deviates from the order of sensations (Thomas Brown, 1820); Fundamentals of Creative Synthesis in “Mental Chemistry” (John Stuart Mill, 1843); “Constructive association” and spontaneous action (A. Ben, 1859); Creativity as an intersection and transitions between ideas, the creation of unusual combinations, associations, analogies ( W. James , 1890); The theory of recombinations (dissociation - regrouping - association) (T. Ribot, 1901); Dissociation and association of impressions, a combination of individual images (L. Vygotsky, 1930); Creativity as an intellectual ability to form connections between ideas (C. Spearman, 1931); The intersection of two ideas (OA Keep, 1957); The Bisociation of "Matrices of Thought" (A. Koestler, 1964); Distant associations (S. Mednick, 1962); The interaction between the right and left hemispheres (JE Bogen, GM Bogen, 1969; SP Springer, G. Deutsch, 1989; T. Hines, 1991, G. A. Golitsin, O. Kamensky, VM Petrov, 1989, 2007 ; Annukka K. Lindell, 2010, 2011); The interaction of logical and intuitive components (Y. Ponomarev, 1976); The simultaneous presentation of two or more opposing ideas or entities (Janusian and gomospeshialnoe thinking) (A. Rotenberg, 1979); The interaction between perceptions and action-responses (Robert Weisberg, 1986); Creative associations (G. Mendelsohn, 1976; M. Marx, WA Hillix (1987); Conceptual combination (JA Humpton, 1987,1997; GL Murphy, 1988; MI Mobley, LM Doares, 1991; MD Mumford, 1992, 1995; FJ Castello, MT Keane, 2000; CL Gagne, 2000, GM Scott, DC Lonergan, 2003; P. Thagard, TB Ward, 1984, 2010); Creative memory, original associations and insight (P. Langley and R. Jones, 1988; DL Schacter, P. Graf, 1989); Creation of visual combinations (A. Rothenberg, RS Sobel, 1980; RA Finke, 1990);
Creating analogies and metaphors. The interaction of direct and indirect meaning (interactionist theory of metaphor) (M. Blake, 1979); Analogization as knowledge transfer (D. Gentner, C. Toupin, 1983, 1986; Lauretta Reeves, Robert W. Weisberg, 1994; K. Holyoak, P. Thagard, 1995); Analogical thinking as the ability to establish links between certain objects, concepts or problems (G. A. Davis, 2004); Creating analogies as a transfer of conceptual structures (H.Welling, 2006).

3. Creativity as the creation and realization of the Whole.
Harmonization of life's journey with the Universal Flow “Book of Changes“ (“I-Ching”) (16-12 century BC); Actions governed by the universal laws of Tao, the implementation of the principle of non-action (wu-wei) ( Lao-Tzu , 6-5 century BC); Imitation (Mimesis) (Democritus, Plato, 5-4 in. BC; Aristotle (4 in. BC); Action in accordance with the divine cosmic plan, submission to nature, following the natural course of things (Stoicism, 4th century BC); Imitation of an exceptionally beautiful nature (Charles Battö, 1746); "Creative Synthesis" as the unification of the elements of the psyche into qualitatively peculiar integrity, defining associative links ( V. Wundt, 1880); Openness to the whole, achievement of unity and harmony with the primary entities of the universe (H. Anderson, 1965); Combining the stored in of fragments of knowledge into a single whole (V. Keller, 1930, M. Wertheimer, 1945); Achieving a balance between subject and object, individuality and the universe (S.Arieti, 1976), “Transmertial transition” from disjunction to conjunction, from opposition to complementarity and creation of a metasystem whole (AA Koblyakov, 2003).
Creativity as morphogenesis and transformation: Integration of facts, impressions and feelings into a new form (JD Porsche, 1955); Creating new and useful patterns (GM Read, 1955); Translation of knowledge and ideas into a new form (A. Duhrssen, 1957); Text structuring and transformation of meanings as an independent goal and result of creativity (R. Barth, 1957, J. Kristeva, 1971), Ability to reformulate and reorganize (V. Lowenfeld, 1962); Directional transformations through coincidence and coordination (D. Feldman, 1979); The process of creating unique products by transforming existing ones (P. Welch, 1980); Transformative wisdom (W. Harman, H. Rhengold, 1984); Creativity as transformative thinking (J.Wycoff, T. Richardson1995); Transformation of the objective world, combined with the ability to determine when these changes are useful (M. Ranko, 1996); The change of the existing subject area or the transformation of the existing into a new one (M.Chiksentmihaii (1996).
Process: T ranformative thinking and insight. Instant visual grasp of a “good structure” by means of insight (V. Keller, 1917; N. Maier, 1931; C. Dunker, 1945; JW Schooler, J. Melcher, 1995); Reorganization, rearrangement and centering of structures by choosing a "good structure" (M. Wertheimer, 1945); Visual perception as the creation of holistic images and instant grasp of reality (R. Arnheim, 1954); Transforming information, creating new patterns, transforming values ​​or using the functions of objects in a new way ( J. Guilford , 1962, 1968); Problem solving as a process of integration, reorganization and restructuring of experience (MD Mumford, KA Olsen, LRJames, 1988); Transformation of conceptual space (M. Boden, 1990); Reorganization of habitual patterns and creation of new “Intellectual cards” (Tony Busen, 1972, 1974); Insight as filling out the scheme and the path between the current state and the goal (J. MacGregor, T. Ormerod, E. Chronicle, 2001); Achieving insight as getting rid of fixations, restrictions and interfering associations (RE Mayer, 1995; SM Smith, 1995; Knoblich, G., Ohlsson, S., GE Raney, 2001; AJK Pols, 2002; MA Schilling, 2005); Evolutionary Theory of Insight (J. Campbell, 1960; D. Simonton, 1995; AJK Pols, 2002; MA Schilling, 2005); Incubation and insight processes in creative problem solving (S. Ohlsson, 1992; SM Smith, RA Dodds, 1999,), Meaning transformation as creating metaphors (DS Miall, 1983); The neurological insight model (EM Bowden, M. Jung-Beeman, J. Fleck, J. Kounios, 2005), Insight as a result of the integration of explicit and implicit knowledge (EII) and the theory of CLARION (S. Heli, R. Sun, 2010).

4. Creativity as the creation and realization of opportunities
Creativity as the realization of “Mystical potency” ( Lao Tzu , 6th century BC. E), Creativity as “feeding of life” (Yang Shan), the realization of all the “fullness of life properties” (Chuang Tzu, 4th century BC. e.); Emptiness as a treasury and the cause of the self-generation of things and entities (Nagarjuna, 2-3 cc., Van-bi, 2nd century AD); Creativity as “Inventio”, imagination (Lorenz Val, Leonardo da Vinci, 15th century), Creation as the choice of the best possible worlds (G. Leibnitz, 1714); Creativity as the creation of multiple possibilities of being, the ascent to the potencies of a higher order (F. Schelling, 1799, 1803); Creativity as an experience of mystery, the embodiment of the supernatural, mystical, intimate, miraculous, unknown (F. Schlegel, 1799; Novalis, 1837); Mystery "and" essential unpredictability "of creativity (L. Briskman, 1980); Creativity as a search for opportunities, the transition from" is "to" maybe "(E. Bono, 1978); Creativity as" creation of secondary worlds "and modeling languages ​​( J. R. R. Tolkien, 1931); The worlds formation (pantocreatic) (S. Lemm, 1964); The creation of autonomous possible worlds (R. Bradley, N., Swartz 1980; D. Lewis, 1986; L. Dolezel, 1988 ; ML Rayan, 1991; M. I. Spariosu, 1997); Creating fictional worlds (TG Pavel, 1986); Creating virtual worlds (N. A. Nosov, 1994; S. S. Horuzhy, 1997; N. B. Mankovskaya , 2000); Construction of possible worlds, the game with t Kstom (R. Barth, 1973; X. L. Borges, 1982; U. Eco, 1983); Creating Possible Worlds as a System for Intensifying Creativity (V.S. Efimov, A.V. Lapteva, S.V. Ermakov, 1994 ); Designing as the creation of a multitude of contingent worlds, the potentiation of being, its transition from real to possible, the realization of existence (M. Epstein, 2003); Designing worlds (A.G. Asmolov, V.A. Petrovsky, 2009).
The game as the actualization of the potencies of personality and environment (L.S. Vygotsky, 1933; J. Piaget, 1962; D. Winnicot; James E. Johnson, 1976; G. Fein, 1987; S. Ayman-Nolley, 1999; D. Schafer , 2006; B. Pearson, SW Russ, S. Spannagel, 2008);
Potential thinking (A. Craft, 2000, 2001; B. Jeffrey, 2003, 2005; A. Craft, T. Grainger, P. Burnurd, 2006).

Process: Torsual imagination, fantasy.
Examination of the world from the position of Als ob - “as if” (I. Kant, 1790; G. Feichinger, 1911); Construction and potentiation as a free position of origin and transition to higher possibilities (F. Schelling, 1803); Imagination as the highest level of creative imagination and thinking (Y. E. Golosovker, 1961, 1987); The irrational process, the game and the free flight of fancy (F. Schlegel, 1799; Novalis, 1837.); Romanticization and qualitative potentiation of the world (Novalis, 1837); Imagining as an expression of unconscious desires (love and power) ( Z. Freud , 1908); Imagination as the unity of mental functions (LS Vygotsky, 1930); Creative imagination as an integration of creativity and image creation (BL Forisha, 1983); The identity of the mechanisms of perception and imagination (SM Kosslyn, 1983); Imagination as the generation and study of images (pre-creation forms) (R. Finke, 1990; SM Kosslyn, 1990; TB Ward, 1995; John C. Houtz, C. Patricola, 1999; Arthur I. Miller, 2000; P. Harris, 2000 ; D.Nettle, 2001; AR Damasio, 2001; N. Le Boitiller, DF Marks, 2003); Creativity as a fantasy (figurative and verbal elements) (IM Roset, 1991); Creating worlds as “re-centering” (ML Rayan, 1991); Creating hypotheses and lacunae (gap), the emptiness of the world, activating the imagination and interpretation (L. Dolezel, 1988); Realization of the creative mechanism and reception of “What if?” (A. Craft, B. Jeffrey, 2003; Rational imagination as a way to create an alternate reality (RMJ Byrne, 2005); Creativity and imagination as an openness to opportunities, a passion for opportunities, a desire for “What could be” (Maxine Greene, 2007).

5. Creativity as an achievement and realization of Freedom
Shunyata as “devastation of consciousness”, liberation from harsh views and unnecessary attachments (Buddha, 6th century BC, Nagarjuna, 2nd-3rd centuries AD.); Skepticism as a struggle against dogma and authority, “refraining from judgments” (Pyrrhohn, 4th century BC), questioning the reliability of perception (Sextus Empiric, 2nd century AD); Free will - the choice of participation in divine creativity (Augustine, 388-395); Creativity as liberation from the shackles of time, from the slavery of karma, from goal and result, “dropping body-mind” and following the inner creative nature (Chan Buddhism, Huinen, 7th-8th centuries); Zen Buddhism, Dogen, 13th c.); Free will and creativity as the essence of man, free creativity of one’s own nature (Pico della Mirandolla, (ed.1496), Free Thinking, rejection of dogma, assertion of freedom of mind, skepticism and doubt as a method of revealing the inner nature (Montaigne, 1580; B. Pascal (ed .1669); D. Hume (1739); "The state of the free play of cognitive abilities" (I. Kant, 1790); Cognition as a creative manifestation of freedom, as the production of the image of a thing and the creation of truth in one's own creativity (IG Fichte, 1797 ); Awakening of the “Dionysian” spirit, insignificance and per Evaluation of values ​​(F. Nietzsche, 1872); Theory of primitive poetic creativity, as the implementation of universal irrational structures (J. Fraser, 1890); Creativity, as a movement of irrational creative flow of life free from social constraints, expression of the personal instinctive essence (V. Dilthey, 1906; G. Simmel, 1911; O. Shpengler, 1918); Creativity as a life impulse (A. Bergson, 1907); Creativity as an expression, approval and realization of substantial freedom (N. And. Berdyaev, 1911, 1916); Creativity as a phenomenological reduction, liberation from a natural setting, cleansing from reality, abstaining from judgment, and constituting meanings (E. Husserl, 1913); “Absolute free will” arising from absolute emptiness as the core of the human “I” and the center of the creative universe (Nishida Kitaro, 1920); Creativity as freedom, as the ever-living personal spontaneity of the spiritual center in man (M. Scheler, 1927); The movement and the birth of thought in the lumen of freedom (M. Heidegger, 1935); Initial internal freedom, free implementation of the project and the implementation of free choice (J.P. Sartre, 1946); Deconstruction of obvious content, provocativeness, destruction of centrism and stereotypes, intellectual game, freedom of interpretation and release of new meanings (J. Derrida, 1967; J. Deleuze, F. Guattari, 1972; J.-F. Liotard, 1979); The theory of "epistemological anarchism" or methodological liberlism: "Everything is permissible" (P. Feyerabend, 1975).

Process: Creative intuition, unconscious free activity, transcendence and deconstruction. The Theory of Random Discoveries, Serendipity (Horace Walpole, 1774, RM Roberts, 1989); Destruction, deconstruction, negation, absurdization, insignificance of the old and insignificant, reappraisal of values ​​(M. Stirner, 1844; F. Nietzsche, 1886; M. Heidegger, 1927; J.P. Sartre, 1943; A.Kamyu, 1951; Nisitani Keiji , 1967; J. Derrida, 1967); Intuition as an instinct (A. Bergson, 1907); Unconscious realization of desires, the action of general mechanisms of the subconscious, freedom of association (Z. Freud, 1908 , 1938); Creativity as a “transcendence”, the emergence of life and personality beyond one’s self (G. Simmel, 1911); Creativity as the work of the subconscious and intuition (A. Poincaré, 1913; J. Hadamard, 1945); Creativity as a unity of free existence and transcendence, as overcoming a border situation (K. Jaspers, 1935); Discovery and creativity as an irrational, intuitive process (H. Reichenbach, 1938; C. Popper, 1968); "Regression in the service of the ego" (E. Kris, 1957); Preconsciousness Activity (LS Kubie, 1958); Paleological thinking, (transformation of endocepts) (S. Arieti, 1976); Deviation from the usual ways of solving the problem, overcoming functional fixation (NRF Maier, 1931; C. Dunker, 1945; RE Adamson, 1952, TP German, HC Barrett, 2005); Destructive process of destruction of old patterns (HA Shepard, 1957); Adventure thinking (FC Bartlett, 1958); Divergent thinking: mobility, flexibility, the ability to generate numerous ideas ( J. Guilford , 1959), Lateral thinking (E. de Bono, 1967); The theory of random changes (D. Campbell, 1960) and random configurations (D. Simonton, 1988); “Deconstruction”: “destruction-reconstruction” of the text (J. Derrida, 1967); The creation of structures, a moving mosaic of fundamentally secondary discrete elements, permanently changing their configuration relative to each other (R. Barth, 1972); Creativity as the liberation of the subconscious (W. Harman, H. Rheingold, 1984); Kaleidoscopic thinking (Moss Kanter, 1988), Interpretative thinking (R. Tarnas, 1991); Creative dreams, problem solving in a dream (P. Garfield 1974; S. Crippner, J. Dillard, 1988: U. Wagner, S. Gais, H. Haider, R. Verleger, J. Born, 2004), Activating deep-seated subconscious knowledge (DM Wegner, L. Smart, 1997); Creative development as the sudden emergence of new patterns and structures with new properties, the construction of "self-transcendental structures" (J. Goldstein, 1999, S. Strogatz, 2003); Theory of random changes and configurations (D. Simonton, 1999); The activity of the subconscious (theory of unconscious thoughts) the awakening of background, isolated knowledge (A. Dijksterhius, T. Meurs, LF Nordgen, 2006); MW Bos, RBBaaren, 2008; CB Zhong, A, AD Galinsky, 2008; Simone M. Ritter, Rick B. van Baaren, Ap Dijksterhuis, 2011), Creativity as using the randomness of subconscious processes (NC Andreasen, 2011).
Intuition. Intuition as a creative process (F. Vaughan, 1979); J. Metcalfe, D. Wiebe, 1987; KS Bowers, G. Regehr, C. Balthazard, K. Parker, 1990; W. Wippich, 1994; J. Langan-Fox, D. Shirley, 2003; A. Bolte, T. Goschke, 2005; Gladwell, M. 2005; Zhou Zhijin, Zhao Xiaochuan, Liu Chang, 2005); Intuition as: dialogue, implicit knowledge (M. Quinn, 2002); Emotions and intuitions (A. Bolte, T. Goschke, J. Kuhl, 2003); The manifestation of the "intellectual subconscious" (Guy Claxton, 2005); The fundamental construct of the behavioral sciences (GP Hodgkinson, J. Langan-Fox, E. Sadler-Smith, 2008); Problem Solving Method (JI Fleck, J Kounios, 2009); Strategic intuition and decision making (N. Khatri, 2000, G. Klein, 2003; W. Duggan, 2007); The use of intuition in education (RM Hogarth, 2001); Intuition in business and practice (LA Robinson, 2006; K. Cloninger, 2006).

MANIFESTATION OF CREATIVITY IN THE PHENOMENAL WORLDS

1. Creativity as the realization of creative position, strategies, methods and styles, as creative reflection, metacognitive regulation and sense-creation
Creativity as a control with the help of a model and virtue, putting things in order (Confucius, 6-5 centuries BC); Taking the position of the Axis Dao Center, balancing, maintaining openness, emptiness, and susceptibility (Lao Tzu, 6–5 in. BC, Chuang Tzu, 4–3 in. BC); The application of 36 stratagems, tactics and techniques (Sun Tzu, 6th century BC, Sun Binh, 4th century BC); Creativity as a realization of the Method - "New Organon" (F. Bacon, 1620); The method of reasoning and the discovery of truth (R. Descartes, 1637); Unconscious installation, to solve the problem ( O. Külpe, 1883); Special psychological setting (G. Watt, 1906); Determining tendency directing the flow of thoughts in solving problems (N. Ah, 1910); "The anticipating scheme" O. Zelts (1924); Realization of the creative dominant (AA Ukhtomsky, 1922); Creative installation and activation of the unconscious (DN Uznadze, 1949); Creativity as a special state of mind, creative setting, the ability to perceive the world (E. Fromm, 1959,1970); Creative dispositions (G. Allport, 1961; D. Perkins, E. Jay, S. Tishman, 1993; A. Galdova, A. Nelicki, 1993); Creative attitudes (A. Maslow, 1963; R. Taft, MB Gilchrist, 1970; CE Schaefer, 1971; RC Schank, PG Childers, 1988; R. Harris, 1998); Creative position (Stance) (SJ Parnes, 1967; K. Szmidt, 1997);
Creative method (A. Osborne, 1953; W. Gordon, 1961; G.S. Altshuller, 1961; S. Parnes, 1967; E. de Bono, 1967; T. Buzen, 1972; D. Koberg, J. Bagnal, 1976; Arthur van Gandhi, 1983; Roger van Oich, 1983; M. Mikhalko, 1991);
Creative cognitive style MJ Kirton, 1976; LD Noppe, JM Gallagher, 1977; S. Messick, 1984; RE Goldsmith, 1987; SFIsaksen, 1987; GJ Puccio, 1987; SJ Guastello, J. Shissler, J. Driscoll, T. Hyde, 1998; I. Al-Sabaty, GA Davis, 1989; R. Schulz, 1989; E.Zilevich, 1988; KB Dorval, G. Kaufmann, 1991; SF Isaksen, GJ Puccio, DJ Treffinger, 1993; EL Grigorenko, RJ Sternberg, 1995; CW Allinson, J. Hayes, 1996; K. Szmidt, 1997; O. Martinsen, G. Kauffman, 1999; Jos Lemmink, Allard CR van Riel, Hans Ouwersloot, 2006; LF Zhang, RJ Sternberg, 2006, E. Cools, H. van den Broeck, 2007); Intuitive style of unconscious information processing and problem solving (A. Punkare, C. Jung, 1921; KS Bowers, G. Regehr, C. Blthazard, 1990; E. Policastro, 1995; R. Sternberg, T. Lubart, 1995; CW Allinson , E. Chell, J. Hayes, 2000; AM Baulor, 2001; DJ Myers, 2002; J. Langan-Fox, D. Shirley, 2003; E. Necka, 2003; M. Karwowski, 2008); Creative (legislative) thinking style (RJ Sternberg, T. Lubart, 1995); Cognitive styles, metacognitive regulation of intellectual activity (MA Kholodnaya,