A picture is worth a thousand words. This old, tired phrase has never been more relevant when it comes to capturing your audience's attention. Because facts are facts - numerous studies confirm that images attract people's attention.

Specialists from HubSpot, a company that produces software for marketers, have collected interesting statistics that show how powerful visual content can be as a means of communication:

• Articles with feature illustrations receive 94% more views than web pages with text and no images.
• People remember information better if the data is illustrated (only 10% of what they heard remains in memory, but if the content was audiovisual, a person is able to reproduce 65% of the information received even after three days).
• Visual content is 40 times more likely to go viral and be shared on social media.

In design, visual images mean a lot; their role is difficult to overestimate. Images help make almost any project more effective and memorable. And if a designer wants his work to stand out from other similar projects, then he must take good care of the visual content.

It doesn’t matter whether you use your own photos or images taken from stock, you need to make sure that everything is in order with them before using them in a project. Size, composition, color rendering, white balance - literally everything is important. And to make your work easier, all adjustments can be made in the Canva service.

Framing: Focus and Composition

Cropping is one of the best ways to improve a picture. Cropping can help remove unnecessary or distracting elements from your frame, improve your composition, and highlight what's most important.

Attention! If you decide to crop an image, don't rush to remove too much, take it gradually. If you crop the picture too much, you can lose a lot of important things. In addition, a strong crop reduces the quality and resolution of the picture. As a result, if such a heavily cropped picture suddenly has to be enlarged, it will disintegrate into pixels.

There is a relatively safe way of framing - the rule of thirds. The original image is divided into three parts vertically and horizontally, resulting in a grid of two horizontal and two vertical lines appearing on top of the image. Here, look:

How to crop in Canva:

• Click on the image you want to crop
• Select "Crop" from the drop-down menu bar
• A frame will appear above the image with markers in the corners, by pulling which you can build a new frame, removing unnecessary parts of the picture
• When the work is finished, confirm the changes by clicking on the checkmark above the image

You can repeat cropping in Canva as many times as you like until you get the look you want. If it doesn't work the first time, just open the source again and try again.

Blur: Enhance Background Images

Sometimes images need to be highlighted, but there are times when they shouldn't be the focus. It’s not surprising, but sometimes a picture works well as a “voiceover.” Well, you understand that we are talking about background images.

Photographs, especially good ones, can enhance any design. But since most often it turns out that the text is placed on top of the background illustration, a problem arises - due to the many small details in the photo, the content is difficult to read.

What can be done in this case? Another option is to apply a blur effect to the picture. As a result, the background will become softer and more concise. If you don’t get too carried away with blur, then in the background photography you will be able to preserve recognizable images that will work to create the overall impression.

Using blur, you can create almost abstract backgrounds with soft color transitions or images with vague shapes. This is a good solution if you need to add a little dynamics to your design. At the same time, the picture looks much better than just a plain background and at the same time is devoid of all distracting details.

How to Blur an Image in Canva

• Open the desired image
• In the drop-down menu bar, find the “Filter” item.
• In the lower left corner of the palette that appears, click "Advanced Options"
• The “Blur” slider is the third one from the bottom. By moving it, you can control the effect settings.

Sometimes it happens that nothing happens in the editor. To make sure that the image has been blurred, you need to click to the side of the image and see what has changed. But more often than not, everything works fine and you can immediately see how the blur works.

Saturation: Changes the intensity of shades

Photographers and designers often experiment with saturation to subtly tone down or enhance the tones of a color. The less saturated the color, the closer it is to a gray shade. If you take the picture and completely desaturate it, you will get a regular black and white image. And if reducing saturation is relatively safe, then you need to be very careful with increasing it - too bright colors can look unnatural.

How to change saturation in Canva:

• Select "Filter" from the drop-down menu
• Click "Advanced Settings"
• Saturation slider third from top
• Move the slider left or right of center to find an option that suits you.

Contrast: working with light and shadow

Enhancing contrast is often used to create a dramatic effect. Increasing contrast makes shadows appear deeper and highlights appear much brighter. If you reduce the contrast, the picture will become more monotonous. As with saturation, too much contrast is not always a good thing. Some images benefit from contrast, but you should not get carried away with this technique, especially if the original image is of fairly good quality.

Working with Contrast in Canva:

• In the drop-down menu, go to “Filter”
• Contrast – second slider from the top
• By moving the slider to the right, you can make the image more contrast. If you move the marker to the left, the shades will become muted.

Brightness

Not everyone can say with confidence whether an image should be made more or less bright. A picture that is too light may lose some of its content; the same effect can be achieved by making the photo less bright.

In any case, it is best to experiment with brightness on high-quality images, since by making it a little brighter or darker, you can achieve the desired result. If the source is so-so, it is better not to touch it at all. Keep in mind that any editing changes the image, but brightness is the most dangerous effect. The slightest mistake and the image will become unbalanced. So it’s better to work with brightness when you are absolutely sure that this manipulation is necessary.

Working with Brightness in Canva

• Click on the image you want to change
• Select "Filter" from the menu
• Brightness is the topmost slider
• Move the marker left or right to change the lighting level
• Moving to the right makes the image brighter, and moving the slider to the left darkens the image.

Other ways to improve your images

Filters. Thanks to Instagram and other apps, filters have become a very popular photo editing tool. Filters are more often used to add an "artistic" effect to an image. But when used skillfully, a properly selected filter can significantly improve the original image. The Canva menu has many preset filters, where you can search through the options to find the most suitable effect and then apply it to the image.

Composition. Any design project is based on a grid - this is the basis of the composition. In Canva, you can create a composition from multiple images. The easiest way is to select a suitable template in the “Layouts” section and fill it with your own images.

Framework. Sometimes you need to add a frame, simple or decorative, to an image. Frames can be very different: large and small, colored or not, round or square. If the design dictates that the picture be framed, everything you need can be found in the online graphics editor Canva.

Layering or overlay. Blurring is one of the main ways to dim the background for better readability of text. But you can achieve approximately the same result without changing the sharpness of the background image. This method is called an overlay - another layer of the desired color is superimposed on top of the original image, after which you need to play with its transparency. As a result, you can not only make the text more readable, but also change the color tone of the background image.

Typography. Up to this point we have been talking about working with images. But text is also often part of the illustration. Is it possible to work with text in the Canva editor? Of course, yes, there is everything necessary for this. You can add your own heading, subheadings and body text, change the font style and size. Canva also comes with several preset text designs and over a hundred different fonts that you can download from your computer to add to the list.

I'll build myself a house out of tin cans

And I’ll sew myself a bright red coat,

And I will live my life as an eccentric from old fairy tales,

Who looks into the world with his mouth open.

Victor Luferov “I’ll build a house...”

Why define creativity?

To make it clearer what to research and what others are researching and talking about.

As a researcher, I always remember the golden rule of the experimenter: before discovering anything new, not previously noticed by other observers, it is necessary to first form a new conceptual apparatus. The object of a particular study dictates the method adequate to its study.

Einstein's biographers recount an instructive conversation. When the young Wernher von Heisenberg shared with Einstein his plans for creating a physical theory that would be based entirely on observed facts and not contain any speculation, he shook his head doubtfully:

Whether you can observe this phenomenon depends on which theory you use. Theory determines what can be observed.

In science, it is customary to respect terminology. When thinking about a problem, a scientist thinks in terms. Meanwhile, each term reflects an old, already existing idea. The term seeks to impose a traditional, familiar vision of an object. In essence, terms are protective mechanisms of scientific paradigms, an indicator of the psychological inertia of scientists.

What is creativity? To begin, we analyzed 126 definitions of creativity. Aristotle believed that the world is eternal; in the sense of time it has neither beginning nor end. Creativity in nature is a process of constant formation and destruction, the purpose of which is to bring matter closer to spirit, the victory of form over matter, which is finally realized in man.

CREATE something, give being, create, create, create, produce, give birth. God alone creates. A good tree produces good fruit, Matt. Create with your mind, create scientifically or artistically. The law creates guilt. | Produce, do, perform, repair. Don't do anything dirty to the old man. Create justice and truth. Doing evil, what are you thinking? What you don’t want for yourself, don’t do to your friend. Create memory for someone, remember. Give alms. Whom I serve, I do my will. Wine at first makes you happy, but then it creates madness... Whatever happens to us is all due to our sins. Shut the door. They've caused trouble! Open the window. Pretended to be poor. There's trouble - open the gates! Let's do a good deed. The world was created, and they didn’t ask us! Creation, action. according to verb. | Everything created, created; creation, creature. And the booger is God's creation. Every creation knows the Creator. | Essays, and in general everything created by the human mind. Immortal creations of famous writers. Bryullov's creations. And every creation of human hands is perishable. What a man this is, this pathetic, sick creature! Creative Wed. Psk. what is dissolved, liquefied; sourdough Created Wed. a vessel in which something is dissolved, esp. a box, or a pit lined with boards, in which lime is diluted on water with sand... Creator, God, Maker, Creator of the Universe. Creator of heaven and earth. | Maker, producer, performer, inventor, writer, founder. Creator of the oratorio "The Creation of the World". The creator of the present, free life of the peasants. My father is the creator, my mother is the nurse. There are many imitators, but no creators. Creator, doer, doer. Creator of troubles, goodness, miracles. -corpus case, grammatical in the declension of names, meaning a tool, a means, when asked by whom, with what... Creature. creature Sib. creation, divine creation, living being, from a worm to a person. Every creature glorifies the Lord, and man glorifies... Creativity cf. creation, creation, creation, as an active property; creative, related to the creator and creativity. The creativity of the poet, painter and sculptor appears in images: in speeches, in sketches and colors, in an idol. (Dal V. Explanatory dictionary of the living Great Russian language).

CREATIVITY is an activity that generates something qualitatively new and is distinguished by originality, socio-historical uniqueness. Creativity is specific to humans, because... always presupposes a creator - a subject of creative activity. FOLK ARTS (folk art, folklore), artistic collective creative activity of the people, reflecting their life, views, ideals; poetry (legends, songs, fairy tales, epics), music (songs, instrumental tunes and plays), theater (dramas, satirical plays, puppet theater), dance, fine and decorative arts created by folk artists and existing among the people. It originated in ancient times, is closely connected with the traditions of any type of artistic activity and is the historical basis of world artistic culture (Modern Encyclopedic Dictionary).

CREATIVITY is an absolutely original creation by man of the unprecedented, ... a revelation of human nature itself (N. A. Berdyaev).

CREATIVITY is an activity that generates something qualitatively new and is distinguished by uniqueness, originality and socio-historical uniqueness. Creativity is specific to a person, because it always presupposes a creator - a subject of creative activity (Big Encyclopedic Dictionary (BED).

CREATIVITY is an activity, the essence and distinctive feature of which is the creation of something new, which has no analogues in nature and in the cultural activities of man and society (Culturology. Brief Dictionary).

CREATIVITY is the mental process of creating new values, which is “a continuation and replacement of children’s play” (Psychoanalytic Glossary).

CREATIVITY is an activity the result of which is the creation of new material and spiritual values ​​(Concise psychological dictionary. Under the general editorship of A. V. Petrovsky, M. G. Yaroshevsky).

CREATIVITY is a unique compilation, understandable to the creator and incomprehensible to others. (Karmanov A.)

Based on the research of Bogoyavlenskaya and Matyushkin, according to which CREATIVITY can be defined as a kind of going beyond the limits (of the current situation or existing knowledge) (V.N. Druzhinin).

In a figurative sense, creation, CREATIVITY is called any introduction of something new, in particular the creation of images as a result of the emerging activity of the spirit, creative imagination. (Short philosophical encyclopedia).

What words close to the concept of creativity exist in the Russian language? Let's open the dictionary of the Russian language by Ozhegov S.I.: “CREATION, -I, cf. (high). A work, the result of creativity. Great works of Pushkin.

CREATOR, -rtsa, m. (high). 1. A person who creates, created something. creatively. The Soviet people are the so-called new world. 2. God as a mythical creature who created the world.

CREATIVE: Instrumental case is a case that answers the question by whom or what? CREATE, -ryu, -dish; nesov., that. 1. Create creatively (high). The artist creates something beautiful. 2. Do, commit (some actions), carry out. T. good. T. trial and punishment. He doesn’t know what he’s doing (book). What are you doing! (you get up to something). II owls create, -ryu, -rish; -renny (-yon, -ena). CREATE 2, -ryu, -rish; -renny (-yon, -ena); nesov., that. Prepare (some kind of composition), dissolving, liquefying. T. dough. T. lime. II soy. close, -ryu, -rish; -renny (-yon, -ena). 1G adj. creative, -aya, -oe (special).

TO BE CREATED (-ryus, -rush, 1 and 2 liters are not used.), -ry; nesov. (colloquial). To happen, to happen (usually about something strange or reprehensible). What's going on here? Something strange is happening to him. 1| owls to be created (-ryus, -try, 1 and 2 liters. unused), -ritsya. A miracle happened.

CREATIVE, - oh, oh. 1. see creativity. 2. Creative, creating something independently. new, original. T. labor. Think creatively (adv.) Creative forces of the people.

CREATIVITY, -a, cf. Creation of cultural or material assets that are new in design. Artistic t. Folk t. T. Pushkin. T. innovators. II adj. creative, oh, oh. T. gift. T. the writer's path."

Talent is a set of abilities (giftedness) that allows one to obtain a product of activity that is distinguished by novelty, high perfection and social significance (Psychological Dictionary. Edited by V. V. Davydov, A. V. Zaporozhets, B. F. Lomov, etc.) .

Recently appeared one more word - “creativity”, close to the concept of inclination or ability to create.

The concept of creativity (from the Latin creatio - creation), introduced by Torrance, denotes the ability to create in the broad sense of the word - the ability to produce new ideas and find unconventional ways to solve problems. Creativity, which was never clearly defined by Torrence, continues to be perceived as synonymous with creative activity in any field of human activity (Adaskina A.A.)

A creative person is a creative person, prone to non-standard ways of solving problems, capable of original and non-standard actions, discovering new things, and creating unique products (V. N. Druzhinin).

“The area of ​​creativity is difficult to research and causes a lot of controversy, since the empirical field of facts related to this problem is very wide. Creativity, considered in various concepts, appears in the form of pieces of a puzzle, which no one has yet been able to assemble completely. Back in the 60s. More than 60 definitions of creativity were described and, as the author noted, “their number is growing every day”... Apparently, the number of definitions of creativity that have accumulated to date is already difficult to estimate. As the researchers note, “the process of understanding what creativity is itself requires creative action. By starting with a definition of creativity, we thereby doom ourselves to failure, since creativity has not yet been conceptualized and empirically defined.” The authors of one of the latest studies define creativity as “the achievement of something significant and new... In other words, this is what people do to change the world” (Torshina K.A.).

The appearance of an incredibly large number of definitions and their inconsistency indicates a terminological crisis and terminological search in this area.

Academician Vladimir Vasilyevich Sharonov identified the following types of creative activity, which can be represented by three main groups.

A) Activities to put forward fundamentally new solutions.

B) Activities to detail, specify, and study this new thing in order to determine the fundamental possibility of its practical implementation.

C) Activities to bring new ideas to life, their objectification in certain material forms.

This classification of creative activity was born within the framework of modern science and relates, first of all, to the types of scientific creativity (fundamental, applied and technical knowledge). But, in his opinion, it can also be attributed to creativity as such.

The definitions of creativity available in the literature allow us to identify some of its general foundations. First of all, the qualitative, fundamental novelty of the final product of the creative act. Secondly, the immediate absence of this quality in the initial prerequisites of creativity. Thirdly, creativity is an activity.

Creativity can be classified according to the following criteria:

· subjective, or internal, before leaving the spirit, and objective, or external, after leaving the spirit (V.V. Rozanov “On Understanding”);

· subjectively individual (personal creativity, personal initiative) and subjectively collective (folk art);

Born as a result of “trial and error” or thanks to cognitive cognition, the results of which do not directly contain the initial premises;

· gray and permitted. Creativity, controlled and uncontrolled.

The key characteristic of creativity is the fundamental novelty of the product, that is, creative thinking is characterized by the search for fundamentally new solutions, going beyond the existing system, which does not correspond to the definitions of either convergent or divergent thinking. Let us recall that J. Guilford divided thinking into divergent and convergent. Divergent thinking involves generating multiple solutions based on clear data. Convergent thinking is aimed at finding the only correct result and is diagnosed by traditional intelligence tests.

There are two fundamental postulates in the theory of creativity, supported by an overwhelming number of researchers. First: from the point of view of academician A. D. Alexandrov, creativity is a specific species feature of a person, which most significantly distinguishes it from the animal world. It is the ability to be creative, that is, to create some fundamentally new quality, that distinguishes man from nature, contrasts him with nature and acts as a source of labor, consciousness, and culture. Second: creativity is one of the most active states and manifestations of human freedom. In terms of its content it closely related to the game, says Academician V.V. Sharonov.

Judging by the average definition of creativity that exists, Keller’s chimpanzees, inserting one stick into another and using it to get fruit, were also creative, relative to their species. The statement about the possibility of creativity only in humans, upon closer examination, dissolves into dust, since many similarities in everyday philosophical and psychological creativity are also found in animals.

Creativity is not only a phenomenon of human activity, but also, for example, the behavior of animals (Big Psychological Dictionary. General editor: B. Meshcheryakov, V. Zinchenko).

One of the characteristic features of the game is its frivolity (Seravin, 2002); who can argue that creativity is impossible if you take it seriously.

One of the main controversial points is that creativity is inherent in any type of human activity. Academician A.D. Aleksandrov strongly objects to the fundamental division of types of human activity into creative (creative) and non-creative (reproductive), which is not so rare in philosophical and psychological literature.

In this regard, it is worth recalling Stanislavsky’s paradox, the essence of which is how to assess the degree of creative, new, fundamentally new contribution of an actor to a role. Where is the line between convergent and divergent in an actor’s activity? In the subjective assessment of three equal types of experts:

The actor’s self-satisfaction, his cathartic self-realization,

In the professional assessment of his colleagues and critics,

In recognition from the viewer, the public, journalists.

Which of these assessments is more significant for the actor himself, his creative and audience success? Where is their measure? What is the criterion for these assessments and its contribution to history? Where is the difference between new, personal contribution and experience, history? Stanislavsky's paradox - a product of the subjectivity of assessing human activity - manifests itself in any of our activities.

It is believed that a new quality - a product of creativity - arises only when two (or more) relatively autonomous knowledge systems are combined into one new system. It is their interaction within the framework of this new system that leads to the emergence of a new quality. It is no coincidence that, in particular, it is the border areas of knowledge that are considered the most creatively potential, and in practical life these are, as a rule, transitional periods (V.V. Sharonov).

One of the main problems of creativity is that even in the explanatory dictionary of the Russian language, where there is a definition of creativity, there is not a single case of using the term “creativity” for its intended purpose.

Ady (Ady) Endre (1877 - 1919), Hungarian poet. His work, close to impressionism and symbolism...

Camus’s work, fueled by social criticism, became an exponent of the tragic consciousness of the 20th century.

The work of outstanding figures in fiction marks the most important phases in the development of world and national culture. Literature is studied by philology, mainly literary criticism.

Sultan Velet Muhammad Behaeddin (1226 - 1312), Turkish Sufi poet (see Sufism). Son of J. Rumi. He wrote in Farsi. All creativity is dedicated to the life, activities and teachings of his father.

ABSTRACT ART (abstract art, non-objective art, non-figurative art), a set of trends in the iso-culture of the 20th century, replacing naturalistic, easily recognizable objectivity with a more or less free play of lines, colors and forms (the plot and subject are only guessed at, symbolically implied or disappear altogether ). Since ancient times, non-objective creativity existed in the form of ornament or non-finito, but only in recent history has it taken shape into a special aesthetic program. Among the founders of abstract art are V. V. Kandinsky, K. S. Malevich, P. Mondrian, masters of Orphism. Several variants of it have emerged: geometric abstraction, abstract expressionism, informel, tachisme, post-painterly abstraction.

ALYABEV Alexander Alexandrovich (1787-1851) - Russian composer. Vocal creativity in the traditions of Russian urban folklore early. 19th century

ARTIST (French artiste from Latin ars - art), the same as actor. In a broad sense, a person engaged in creativity in the field of any art. In a figurative sense, a person who has achieved mastery in his field.

...The master’s work is most fully represented in the Feodosia Art Gallery he founded, which now bears his name (Feodosia Art Gallery named after I.K. Aivazovsky).

In 90% of cases, the word “creativity” is interpreted in the dictionary as a description of the life activity of a person whose work has been recognized by society as socially desirable. For example: “...The master’s work is most fully represented in the Feodosia Art Gallery that he founded, which now bears his name (Feodosia Art Gallery named after I.K. Aivazovsky).” In 99 cases out of 100, the word “creativity” is used to denote the transformation of society’s attitude towards product creativity. Now there are 4 types of definitions of creativity: everyday creativity, as going beyond the existing system in the broadest sense, creativity as the creation of new material and spiritual values, creativity as an activity, and creativity as a product of activity. Ambiguity of definition is the essence of the nature of creativity. As we can see, most definitions characterize creativity as an activity, and when using the term “creativity”, a product is implied. That is, creativity is understood as a product that requires recognition and which can be seen in an “art gallery.” In the “art gallery” we get acquainted not with creativity, but with creations.

Let's consider the “everyday” term “creativity”. About eight years ago I worked as a security guard-administrator at a hairdressing salon. The boss asked me to call a plumber in the evening, who was supposed to fix the Finnish head sink overnight, and left me some money. I felt sorry to part with this money, and since I still had to sit with him all night, I decided that nothing was impossible for a person with a higher education, and I decided to fix the sink myself. I took it apart and studied its structure, then reassembled it, and the sink started working. But there were three parts that I did not insert. I disassembled and reassembled the sink all night, not understanding what the purpose of these parts was. In the morning I finally assembled it, without two parts, and it worked for two years without any breakdowns. According to some authors, this would be creativity, but I don’t see creativity here because I studied the washing system and then, using this knowledge, repaired it. In my opinion, knowledge And skill using this knowledge of an existing system is fundamentally different from discovering new intergalactic systems. An incredulous colleague may ask: “Don’t you think that the discovery of new intergalactic systems is the same as fixing the sink? After all, their discovery follows certain laws developed by people, and at the same time there is no element of novelty. There is no way out of the system!” The fact of the matter is that before a new law can be discovered, creative discovery is necessary. A person “sitting on the ground” does not perceive the diversity of intergalactic systems; Before he discovers them, it is necessary to admit and justify the theoretical possibility of their existence, and then prove it to the community. Unfortunately, it is impossible to say whether creativity proceeds progressively from discovery to discovery, or whether each subsequent creative discovery is a different one? It probably happens both ways. This problem is very difficult for researchers, in many ways it is similar to the question “how does evolution occur” - progressively or through catastrophes. Creativity is an individual activity, and the product of activity is collective, since only in comparison with the achievements of predecessors can we determine the fundamental novelty of the resulting product. In fact, a “wash without two or three parts” can be considered a new product, but there is no fundamental novelty in this sink in comparison with the common human experience. On this occasion, I recall my discussion with a mathematics professor in Tolyatti. The professor believed that at his department students are taught creativity, forcing them to solve known problems (convergent thinking) in new ways and means (divergent thinking), and I said that they teach their students not creativity, but a completely different activity - the ability to apply existing knowledge mathematical system. Probably, the ability to solve a problem in a standard way - ordinary awareness (convergent thinking), good knowledge of this subject, the ability to solve a problem in several ways - is resourcefulness (divergent thinking), and creativity is still something more than awareness and resourcefulness. Creativity is going beyond the existing system, that is, a mathematics student would have to come up with a certain system, study it and, using his knowledge, solve a problem from a new system using new rules, and then be able to prove to society that this was all and there is. That is, thinking can be divided into divergent, convergent and creative.

There are no problems with defining convergent thinking. For example, M.A. Kholodnaya defines “convergent intellectual abilities - in the form of level, combinatorial and procedural properties of intelligence - which characterize one of the aspects of intellectual activity aimed at searching for a single (normal) result in accordance with given conditions of activity.” The definition of divergent thinking is vague: researchers try to define it either as everything else that is not included in the definition of convergent thinking, or they try to attract everything that is possible into this definition - this activity is a theoretical and research crisis of this concept. “Divergent abilities (or creativity) are the ability to generate a wide variety of original ideas in unregulated operating conditions. Creativity in the narrow sense of the word is divergent thinking (more precisely, the operations of divergent productive productivity, according to J. Guilford), the distinctive feature of which is the willingness to put forward many equally correct ideas regarding the same object. Creativity in the broad sense of the word is creative, intellectual abilities, including the ability to bring something new to experience (F. Barron), the ability to generate original ideas in the context of resolving or posing new problems (M. Ullah), the ability to recognize problems and contradictions, and also formulate hypotheses regarding the missing elements of the situation (E. Torrence), the ability to abandon stereotypical ways of thinking (J. Guilford)” (M.A. Kholodnaya 2002).

The main feature of creativity is going beyond the system. It is not necessary to merge or intersect systems, the point is to find or create a new one. If we do not take into account the systematic approach to understanding creativity, then my knowledge of the system, like a plumber, is no different from Einstein’s creativity. But this is not true! Einstein's creativity is a fundamentally different order. It is necessary to distinguish between the everyday understanding of the term and the psychological one, or introduce a new term that would differentiate between true creativity and good knowledge of the system. By true creativity, the author always means going beyond boundaries.

However, true creativity, which goes beyond the framework of the system, requires its description within the framework of that system. That is, as soon as we define creativity by forcing it into a certain system, we immediately lose it. I remember the words of the classic: “You can judge an artist only by the laws he himself created.”

All the work on defining creativity reminds me of the second episode of the film “The Meeting Place Cannot Be Changed,” when Zheglov and Sharapov caught the pickpocket Brick. He answered investigator Zheglov that creativity responds every day to the researcher who is trying to define it in a convergent-oriented manner.

So you have no (criminal) methods against Kostya Saprykin.

Researchers of creativity determine it using exactly the same methods, thanks to which the criminal investigation investigator Zheglov caught the pickpocket Brick.

If we cannot determine something, this does not mean at all that we cannot study it. Frankly speaking, the crisis in the development of science in the knowledge of creativity is a crisis in the scientific paradigm, which shows its inconsistency. There are no paradigms in creativity.

If we cannot determine something, this does not mean at all that we cannot study it. Frankly speaking, the crisis in the development of science and in the knowledge of creativity is a crisis of the scientific paradigm, which shows its inconsistency. There are no paradigms in creativity. A.N. Luk wrote that thinking constantly operates with vague, ill-defined, insufficiently defined concepts. As we advance along the path of knowledge, the concept is defined more and more fully, but can never be exhausted. We define creativity as an activity associated with finding fundamentally new solutions “based on ambiguous data.” That is, we still give a definition, albeit a technical and vague one.

M. Bowen emphasizes that a psychologist in his practice encounters a wide range of phenomena that often do not fit into the framework of scientific logic; he deals with mental reality, the main essence of which is expressed in unpredictability. All this can disrupt the integrity of the psychologist’s understanding of reality and, consequently, reduce the quality of professional actions in relation to the client. It is not surprising that many psychologists are beginning to realize the inadequacy of professional language and ways of thinking for describing mental reality.

We conducted a comparative analysis of the types of thinking on the principle of finding a solution (Table No. 1) and came to the conclusion that, in addition to the two types of thinking identified by Guilford, it is advisable to highlight creative thinking, which is associated with finding fundamentally new solutions “based on ambiguous data”, then is independent of the nature of the data (data may be completely absent). The tests of Guilford, Torrance and others examine divergent and convergent thinking, without touching creative thinking, since they are based on the search for predictable solutions within given conditions and the existing system.

Now that we have tactically defined creativity and prepared a new conceptual apparatus for a new vision of this activity, it is time to move on to analyzing the methods and approaches to studying creativity used in the last century and developing adequate research methods for a new vision.

Table No. 1

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• Yakov Slashchev: how the White Guard hangman general became a mentor to the Red Army
• Famine in the USSR (1932-1933) History during the 2nd famine 1932 1933
• Air assault troops of the USSR
• Obtaining hydrogen sulfide. Hydrogen sulfide. Hydrogen sulfide acid and its salts What is the difference between hydrogen sulfide and hydrosulfide acid
• Sayings and proverbs on the topic “person is a person” Proverbs on the topic person is a person 6
• Comma in English

System of syntactic units A complex sentence has properties in common with the properties of a simple sentence, and in addition, specific features that distinguish it from...	Personal UUD in primary school Universal educational activities Explanatory note Changes taking place in modern society require accelerated improvement...	Documents and admission rules The reform of Russian education is difficult, the new Minister of Education will have to clean out the Augean stables of education, polluted by supporters...	What human races do you know? Since the 17th century, science has put forward a number of classifications of human races. Today their number reaches 15. However, at the core of all...

Library of esoterics

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