Showforum creativity and cultural development. Interdependence of culture and creativity

RUSSIAN PHILOSOPHICAL SOCIETY

SECTION “THEORY AND METHODOLOGY OF CREATIVITY”

DEVELOPMENT OF SCIENCE

AND CREATIVITY

Monograph

Moscow 2002

Development of science and creativity. Monograph. Ed. A.N. Loshchilina, N.P. French. M.: RFO RAS, 2002.

Under general editorship

Doctor of Philosophy, Professor A.N. Loshchilina,

Doctor of Philosophy, Professor N.P. French

The collective monograph “Development of Science and Creativity” is the fourth collective work, which is devoted to a systematic generalization, presentation of ideas and work experience of members of the section “Theory and Methodology of Creativity” at the Presidium of the Russian Philosophical Society. If the first monograph “Philosophy of Creativity” was devoted to the theoretical and methodological problems of creativity, the second and third “Creativity and the development of culture”, “Creativity in the space and time of culture” - to the analysis of the role of creativity in the development of culture, then this monograph examines the methodological problems of the development of science and scientific creativity.

The work may be useful for researchers of creative issues, for those interested in problems of creativity, for undergraduate and graduate students, as well as for the preparation of courses and special courses on the philosophy of culture, philosophy of creativity.

Reviewers:

Doctor of Philosophy, Professor V.A. Titov,

Doctor of Philosophy, Professor V.A. Vasiliev

Ph.D. Aleshnya S.V. , Ph.D., Associate Professor Grishunin S.I. (1.3.), Doctor of Philology, Prof. Ignatiev V.A. (1.8.), Ph.D., Associate Professor. Kataeva O.V. (2.11.), Ph.D., Associate Professor. Kononova L.I. (2.9.), Kapitonova T.A. (1.9.), Koroleva S.A. (2.4.), Doctor of Philology, Prof. Loschilin A.N. (2.9.), Loschilina M.A. (2.6., 2.7., 2.8., 2.9.), Doctor of Philology, Lyubimova T.B. (2.5.), Ph.D. - M.Sc., Associate Professor Mikhailova E.M. (1.5.), Ph.D. Markelov V.E., Ph.D., prof. Metlenkov N.F.1.6.), Ph.D., Associate Professor. Nedzvetskaya E.A., Svetlov S.V. (1.7.), Doctor of Philology, Prof. Surkova L.V. (2.1.), Tikhomirova E.A. (2.9.), Doctor of Philology, Prof. Frantsuzova N.P. (1.1.), Ph.D., Assoc. Chelyshev P.V. (1.4.), Doctor of Philology, Prof. Yakovlev V.A. (1.2.), Doctor of Philology, Prof. Yatsenko L.V. (2.2.).

Ó Russian Academy of Sciences,

Russian Philosophical Society,

Section “Theory and Methodology of Creativity”

PREFACE

In this collective monograph, “Development of Science and Creativity,” work continues to summarize the experience of previous research by members of the section “Theory and Methodology of Creativity.” The leadership of the section set the task of summing up some of the results of scientific research that was carried out by members of the section in the 80-90s of the 20th century and the beginning of the 21st century on the problems of the development of science and scientific creativity, in order to generalize the experience and formulate the main tasks of further research within the section “Theory and Methodology” creativity" at the Presidium of the Russian Philosophical Society for the coming years.

This collective monograph is a continuation of the work that was done in previous collective monographs: “Philosophy of Creativity.” M., 2002., “Creativity and development of culture.” M., 2002., “Creativity in the space and time of culture.” M., 2002. If the first three monographs were devoted to philosophical problems of creativity, the role of creativity in the development of culture, then this work is devoted to the problems of the development of science, scientific creativity, and methodological problems of creative activity.

In the twentieth century, especially in its second half, in-depth research was carried out on the problems of scientific creativity. This is due, on the one hand, to the rapid development of science, and also in connection with the fundamental works of K. Popper, T. Kuhn, P. Feyerabend, L.A. Mikeshina, A.T. Shumilina, I.S. Ladenko, N.P. Frantsuzova, M.S. Kagana, Ya.A. Ponomareva, B.Ya. Pakhomova, S.N. Semenov and many other foreign and domestic researchers of the development of science and scientific creativity. Fundamental works on the problems of the development of science have made it possible in many ways to take a new look at the process and essence of the activities of scientists as a scientific community, evolutionary and revolutionary changes in the development of science, the role of a paradigmatic vision of the world, the formation of a scientific picture of the world, the role of the collective principle in the development of science and many others Aspects. But at the same time, many factors of the internal and external determination of scientific creativity, the essence and role of creative inclinations and creative abilities, and the ways of their formation and development remained aside from a comprehensive consideration. There is no doubt that the development of science is carried out by the scientific community. But every scientific community consists of scientific teams, specific people with specific abilities, needs and interests. And, as Altshuller noted, even if a thousand diggers are digging one ditch, each one digs it in his own way. In this regard, the task arises of studying the essence and specificity of not only collective, but also individual creativity.

The members of the editorial board were far from biased in their assessment of certain ideas and theoretical positions that were reflected in certain sections of this collective monograph, although on some issues the points of view of the authors largely do not coincide.

This collective monograph does not pretend to be a comprehensive and exhaustive answer to all the problems of science, and this is impossible to do in principle. The authors tried to reveal only those aspects of the task that are currently most relevant. We hope to continue this work in the future.

CREATIVITY AND DEVELOPMENT OF SCIENCE.

Creativity is an activity that generates something qualitatively new and is distinguished by uniqueness, originality and socio-historical uniqueness. Creativity is specific to humans, since it always presupposes a creator - a subject of creative activity. Creative activity is a unique feature of the human race. It is multifaceted and manifests itself in all spheres of material and spiritual culture, each acquiring its own specificity, but nevertheless retaining a generally valid option. The meaning of creative activity lies precisely in the formation of a person as an active subject of social activity. In this aspect, creativity acts as a necessary attribute of culture.

The generic human essence is a set of such human properties that, manifested in each individual person, are preserved by representatives of the human race throughout its existence. This is the concentration of the most stable relationships into which a human person enters. By interacting with nature, a person manifests the first property of the generic essence, his natural corporeality or objectivity. The first object that a person masters in the course of his life is his body. In the process of purposeful interaction with nature - labor, a person uses certain tools to achieve his goal. The objective result of human labor is Both the improvement of man himself and the objects created by human labor. The second manifestation of the generic human essence is formed as a result of the natural human need in the society of people, and it manifests itself in human sociality, the public and the soulfulness that arises as a result of their manifestation. Being within a certain society from birth, a person cannot do without the company of people throughout his life. Finally, the third manifestation is the spirituality of a person after his humanization (this fully manifests itself after the person experiences experiences). Real human spirituality is defined as a value relationship, the main way of existence of which is experience of meaning. Value is the significance of an object, person or phenomenon revealed in the process of experiencing for the experiencing personality. Creativity should be interpreted as a source of something eternal, enduring in culture.

Creation. Concept and essence. Types of creativity.

Types of creative activity are usually distinguished in accordance with the type of thinking that underlies each of them. Scientific creativity develops on the basis of conceptual-logical thinking, artistic creativity develops on the basis of holistic-imaginative thinking, design creativity develops on the basis of constructive-figurative thinking, and technical creativity develops on the basis of constructive-logical thinking. Let's consider the features of the creative process in science, technology, art and design. Lotman calls culture and art two ways of seeing the world or “the eyes of culture.” With the help of science, culture comprehends what exists and is natural, and art is the living of the unexperienced, the exploration of what has never been, the passage of roads not taken by culture. The creative process in science is limited by the framework of logic and facts, the scientific result reflects the current state of the scientific picture of the world, and the goal of scientific creativity is the desire to achieve objective truth. In artistic creativity, the author is limited by his own talent and skill, moral responsibility and aesthetic taste. The process of artistic creativity includes equally conscious and unconscious moments; a work of art becomes like an initially open system, a text that exists in a certain context and has an internal unspoken subtext. As a result of artistic creativity, a work of art is the embodiment of the artist’s inner world, recreated in a universally significant, self-valuable form. Technical creativity is determined by the current needs of civilization to achieve the greatest comfort and maximum adaptation to the environment. The result of technical creativity is a technical device, a mechanism that best meets the actual needs of a person. Design creativity arises at the intersection of technical and artistic creativity and is aimed at creating a thing that has not only a functional and expedient, but also an expressive external form. The result of design creativity is the reconstruction of the object-material environment of human habitation. Design art resurrects the forgotten thesis of ancient culture: “Man is the measure of all things.” Designers are faced with the task of creating things commensurate with a person, creating such a household and industrial object environment that would contribute to the most effective solution of production problems and would allow the maximum realization of human abilities and intentions. Creativity is an indispensable condition for the emergence of culture and the realization of the generic human essence. In creativity, a person expresses himself as a free individuality and is freed from any external restrictions, firstly, associated with a person’s physical capabilities: physical, physiological and mental, and, secondly, associated with a person’s social life. Creativity as a process in itself is realized when, taking place in certain socio-cultural conditions: social, economic, political, moral and religious, legal and ideological, setting a certain current cultural level, it sets itself previously unprecedented goals, is realized in a searching, selective manner and receives a result that expands the measure of freedom of the creator. It is creativity, when a person focuses on his spiritual side, that helps free a person from the interfering conventions of the world around him. Culture and creativity make a person free from the oppression of his gender and age parameters, from the oppression of communalism and from the dictates of mass character and standardization. It is creativity as a way of being of culture and self-realization of the individual that becomes a mechanism for preserving the unique human individuality and self-worth of the individual. The Creator is HOMO FABER - a human creator who rose above the natural environment, above everyday needs, above the creation of only practically necessary things. Consequently, the first of all possible manifestations of creativity is the formation of a creative personality.

A creative person, regardless of his field of activity, is usually distinguished by high intelligence, relaxed thinking, ease of association, fearless play with ideas and at the same time the ability to build logical schemes and establish interdependencies and patterns. A creative person must have independence of opinions and judgments, assessments, and the ability to correctly and reasonably prove and defend their point of view. First of all, vigilance in searching for problems and the ability to pose questions are important for a creative person. A creative person must have the ability to focus attention and hold it for a long time on any question, topic or problem, and concentrate attention in the process of searching for a heuristic solution. Creative intelligence is, as a rule, distinguished by the ability to operate with vaguely defined concepts, overcome logical inconsistencies, and have the ability to collapse mental operations and bring distant concepts together. A creative person must be demanding of himself and others and self-critical. Doubt about generally accepted truths, rebellion and rejection of tradition must be combined with internal discipline and severity towards oneself. Creative people are distinguished by their wit, sensitivity to the funny, and the ability to notice and comically comprehend a contradiction. However, psychologists note that passion for a creative task and detachment from the world leads to everyday absent-mindedness and secondary importance of relationships between people, an increased desire for self-affirmation

Culture contains both stable, conservative and dynamic, innovative sides. The sustainable side of culture is cultural tradition, due to which the accumulation and transmission from generation to generation of elements of cultural heritage occurs: ideas, values, moral standards, customs, rituals, skills. The system of traditions reflects the integrity and stability of the social organism. The history of culture would seem absurd if each generation completely rejected the cultural achievements of the previous one.

No culture can exist without traditions. Moreover, cultural tradition is an indispensable condition not only for the existence, but also for the development of culture, even in the conditions of the creation of a qualitatively new culture. To reveal the mechanism of cultural development, the dialectical law of the negation of negation is of particular importance, which, not limiting itself to just asserting the invincibility of the new, reveals the cyclical nature of development, characterizes the unity of progression and continuity inherent in any type of development, including the development of culture.

Continuity, as a general pattern in the development of culture, manifests itself in various specific forms, such as: 1) genetic connection of the old culture with the new; 2) the emergence of individual elements of a new culture in the still existing old one; 3) preservation of certain elements of the old one in the new culture; 4) return to the original stage of development. In the latter case, continuity involves not simply the preservation of certain features of the directly denied old culture within the framework of the new, but the restoration of certain elements of the old that once existed, then were denied and ceased to exist, but were again revived by development. This is, for example, the revival of ancient culture during the Renaissance.

Denial of continuity in the development of culture results in a nihilistic attitude towards the greatest cultural values created in the past. Within the framework of such ideas, the development of culture is possible only with the complete and categorical destruction of the old culture, a typical example of which can be the vulgarizing theories of the Proletcultists. Proletkult (an association of proletarian cultural and educational organizations) arose in 1917 and advocated a nihilistic, anarchist attitude towards the past, towards its culture, towards the greatest spiritual values accumulated in previous history. Having adopted the slogan: “The proletariat is not the heir of the past, but the creator of the future,” the Proletkultists seriously believed that a new proletarian culture could and should be built outside of any traditions. This approach echoed the calls emanating from futurism, which arose even earlier, whose representatives considered it necessary to destroy all previous culture:

We are in the grip of a rebellious, passionate intoxication;

Let them shout to us: “You are the executioners of beauty.”

In the name of our tomorrow, we will burn Raphael.

Let's destroy museums, trample flowers of art.

It was proposed to carry out a complete destruction of “bourgeois science”, to create new programs in mathematics, physics, chemistry, biology, in which everything would be the other way around. The nihilistic calls of the proletcultists and futurists echo the slogans of the cultural revolution in China, during which the Chinese press classified Dante's Divine Comedy, Rabelais' Gargantua and Pantagruel, Roland's Jean Christophe and other treasures of world literature and art as “poisonous herbs.” . During the Cultural Revolution, priceless works of Chinese classical art were destroyed, and Chinese culture suffered irreparable losses.

Of course, both in the preservation and transmission of culture from generation to generation there must be a certain stability, there must be a tradition. The development of culture is not only the replacement of some of its qualitative states by others, but also the inheritance of certain content, the inclusion of this content in a higher synthesis. It is the peculiar inheritance by subsequent generations of everything viable from the culture of previous generations that determines the progression and progressiveness of development. Otherwise, cultural progress would be impossible.

What has been said, however, should not be understood in the sense that the development of culture is a simple return to the old, its complete restoration, the literal preservation or repetition of the features of the old in a new culture. If this were really the case, then the development of culture would turn into marking time, into a meaningless repetition of the same thing, into a monotonous series of monotonous variations on the same theme.

Tradition is memory, and selective memory at that. Culture always remembers and updates only what is needed by modern times. Consequently, cultural tradition is a way of mobilizing the experience of the past, but not in an unchanged form, but in a transformed form, adapted to the present.

The repetition of certain features of the old in a new culture is neither literal nor absolute: firstly, not all features of the old are repeated in the new, and secondly, those that are repeated in the new culture are melted and take on a different form. As for truly obsolete forms of culture, they disappear once and for all, completely and irrevocably.

Culture is not the passive storage of material and spiritual values created by previous generations, but the active creative use of them for social progress. And not just use, but also update. Society reproduces and improves itself only by inheriting and creatively processing the accumulated wealth of culture. And blind admiration for tradition, its hypertrophy gives rise to conservatism and stagnation in culture.

In the creativity of culture, the universal is organically fused with the unique. Each cultural value is unique, whether we are talking about a work of art, a scientific discovery, a technical invention or a human behavioral act.

Thus, tradition and creativity– these are two inextricably linked sides of culture, two sides of the same coin. The unity of tradition and innovation, their mutual correlation is a universal characteristic of any culture.

At the same time, the description of the real diversity of the history of human society and its culture shows that the relationship between tradition and creativity is not a constant given once and for all, it changes in space and time. Its different ratio serves as the basis for dividing societies into traditional and technogenic.

Western civilization, the basis of which was laid by the ancient Greeks, as well as modern Europeans, is called “technogenic” (V.S. Stepin). Its characteristic features are: intellectualism, knowledge in the forms of theoretical concepts, systematic application in the production of scientific knowledge, rapid change in technology and technology, concepts of equality of people, equal opportunities, developed ethics and democracy. As technogenic civilization develops, there is an accelerating renewal of the artificially created human-made environment (“second nature”). The German philosopher M. Weber considers the main values of Western culture to be: 1) dynamism, orientation towards novelty; 2) affirmation of dignity and respect for the human person; 3) individualism, orientation towards personal autonomy; 4) rationality; 5) ideals of freedom; 6) tolerance, tolerance for other people's opinions, other people's faith; 7) respect for private property.

Unlike Western culture, Eastern culture is focused on emotional, intuitive perception of the world. The scientific rationality of Western culture is contrasted here with a moral-volitional attitude toward contemplation, serenity, and intuitive-mystical fusion with existence. Time in such civilizations is perceived as something finite, as a closed cycle, which includes both nature and the history of society. In the ideological aspect, in Eastern cultures there is no division of the world into natural and supernatural, into the natural world and the world of society. Therefore, here the highest good is not the conquest of nature, but merging with it.

This type of culture creates non-technical civilizations with their descriptive sciences and impressionistic art. It is focused, first of all, on the reproduction of existing social structures, the stabilization of an established way of life, and the reproduction of its stable stereotypes. Its highest value is the traditional way of life, accumulating the experience of ancestors.

It is clear that these characteristics of Western and Eastern cultures are just speculative models that cannot be fully equated with the real state of world culture. There is even less reason to literally transfer them to the modern world, to a world where once disparate nations and nationalities inhabiting all continents are united into an integral social entity - humanity.

creativity, human, levels of consciousness, levels of mind

Annotation:

The article discusses the understanding of creativity, its levels, direction, significance and development of its technologies in modern culture

Article text:

“Creativity is the creation of something new.” It is in this transcription that the concept of creativity exists in culture. Because of this, culture and creativity are phenomena that flow from one another. Just as culture is created in the process of creativity, so creativity is nourished and developed through culture. Therefore, it is advisable to consider creativity as the pinnacle of the main driving force - an activity in the process of which new values are created that have one or another cultural status.

Creativity is a complex problem, the mystery of which will always excite people's minds. Despite numerous research in this area, the mystery of creativity has not been solved, and, obviously, cannot be fully revealed. It is quite obvious that there are as many styles, types, and methods of creativity as there are creators. Everyone develops their own method, their own creative laboratory, but several major trends have emerged that have set themselves the task of defining the essence of creativity.

The levels of creativity are just as varied. Creativity is distinguished between the spheres of performance, authorship, imitation, interpretation, variability, improvisation, etc. Moreover, all these areas have pronounced specificity, form the skills necessary in this area, etc. But with a greater degree of certainty, creativity is divided into creative processes in the field of creating ideas (productive) and the creation of technologies (reproductive).

Researchers of creative processes have been trying to figure out the priority of these positions for a long time. Supporters of the “creators of ideas” (Lubkokht F., Ransvert S., Shipurin G., etc.) believe that the main thing in creativity and, therefore, culture is the creation of ideas, that is, thought forms, which can then be clothed in the attire of a specific object. Ideas and thoughts are the main wealth of culture. Therefore, man and humanity must form a correct understanding in relation to this aspect. Supporters of the “technological component” (Zaraev V., Zverev A., Fuiding R., Yankers A., etc.) believe that the idea is an important, but not so significant position in creativity. People cannot feed on ideas; the latter must be clothed in objects. For the development of society, not only the right ideas are needed, but also the best technologies. They contribute to filling society with cultural samples. Therefore, it is important not only to come up with a model, but also to quickly, at lower costs, and at a high quality level, create an object. This requires technology that can help a person master a particular profession, skills, teach the creation of objects, cultural products, etc. Technological creativity is a huge field in which creative methods, teaching methods, methods of performing certain actions, etc. are created.

Recently, both levels of creativity are considered equivalent, noting that priority is given to one direction or another depending on the mentality of national cultures. Thus, Russian culture emphasizes and considers creativity in the sphere of production of ideas more significant; performance-oriented cultures (Japan, China and other eastern cultures) consider creativity in the field of technology more important. Obviously, it is advisable to consider creativity in one direction or another to be equally significant and consider its priority from the point of view of its impact on the individual.

In addition to creating something new that is significant for the existing culture, creativity can act in this capacity in relation to the individual. Therefore, reproductive (reproducing) types of knowledge and activity, which are not new to society, put the individual in a situation of creativity, thereby developing new abilities, skills, abilities, and knowledge. Because of this, each new generation becomes creators in the process of mastering existing culture.

In the literature, creativity is interpreted as “a process of human activity that creates qualitatively new values. Creativity is a person’s ability, arising in work, to create a new reality from the material provided by reality, satisfying diverse human needs.” In the history of human development, several directions and views on creativity have emerged. Plato viewed it as a “divine obsession,” transforming in directions and cultures, but remaining the same in essence, this position exists to this day.

Scientists have always tried to systematize creativity. Aristotle noted the types of mimesis in art, Rousseau and Descartes adhered to the principles of rationalism - the development of canons that control activity in the cognitive sphere and moments of development into creativity. Russian philosophers and writers created their own systems - theoretical and artistic; in which reflection of the highest creative achievements is possible.

The theories of Z. Freud and E. Fromm are widely known, in which the Freudian school connects creativity and the creative process with sublimation. Therefore, creativity in this interpretation is a balancing of the principle of pleasure and reality, which Freud believes to be the main types of the human psyche. Creativity, therefore, is the desire to satisfy accumulated desires, to adapt through this transformation in reality, which is considered as a game. At the same time, desires are complexes laid down from childhood, which were strengthened and increased under the influence of numerous social prohibitions associated mainly with the sexual sphere. As a result, all the artist’s work gives vent to his sexual desires. This interpretation is transferred by Freudians not only to the explanation of the process of creation, but also to the content of works, which, in turn, are transferred to the analysis of perception. Moreover, society and social conflicts, Freud notes, are generated precisely by these reasons; the cause of mental breakdowns, tensions, and conflicts lies in this biological zone.

Fromm considered creativity as an understanding of the problem of the essence and existence of man, coming to the conclusion that the main thing in this world is love not in Freudian-sexual clothes, but comprehensive love, the basis of which is art. Therefore, the main thing in the world is art, man’s search for himself, the expression of his searches in artistic images that took place in the past, present and future.

A number of researchers connect creativity with systematic activity, mainly of an objective nature. We can say that it is this position that prevails in the development of the phenomenon of creativity in the European school. The basis of any creativity is intense, systematic, purposeful activity. Phrases such as Tchaikovsky’s statement “inspiration is a rare guest, it does not like to visit the lazy”, Pushkin’s “talent is one drop of talent and ninety-nine drops of sweat”, Pascal’s “accidental discoveries are made only by well-prepared minds”, etc. are widely known.

But the mechanisms of inclusion in creativity in the Western scale have practically not been worked out. The study of creative methods considers, first of all, external attributes - the systematics of work, lifestyle, nutrition, the use of thermal techniques, etc. This gap manifests itself quite clearly in the lives of creators. Among the huge number of talents born of the Western European, Russian, American schools, one can count many who were involved in creativity for short periods, after which they experienced long periods of inactivity and despondency; some artists could create works under the influence of alcohol, drugs, which destroyed the physical and mental body and led to known consequences.

Many artists were looking for their own methods of entering the desired state. It is known that Pushkin and Tolstoy loved to walk barefoot on snow and stone floors, citing the fact that blood more powerfully irrigates the brain, which begins to work better. Someone had to endure severe stress, a kind of shock, which allowed them to acquire the properties necessary for creativity. But, despite the difference in methods, a general tendency is seen everywhere to enter a state of “other being”, being in which is not indifferent to the psyche. It is no coincidence that in the Western school, in Russian reality, there are so many talents with fragile mental health. It is obvious that creativity needs not only to be explained from the point of view of rough material positions, but also to be considered in more subtle categories, which must be supported by a clear mechanism of entry and exit from it.

These positions are perfectly developed in eastern schools. Therefore, when analyzing the relationship between culture and creativity, we will place the main emphasis on these methods and explanations of the positions of creativity.

Eastern esoteric culture is the most ancient and integral part of human culture. It contains a system of general ideas about genesis, structure and world order. Due to the fact that such knowledge extremely strengthens power over the world and others, the initiates had to have special qualities - specific brain indicators capable of accommodating knowledge, spiritual maturity, responsibility and be able to bear it. Transformation of sacred knowledge and teachings into exoteric (open , secular, accessible to everyone) allows you not only to get acquainted with them theoretically, but also to get involved in the technique of mastering spiritual methods. Let's look at some of them. Well-known to the general reader are Alice A. Bailey, Satprem, Sri Aurobindo Ghosh, Osho Rajnesh, Russian researchers of the Roerichs, Kapten, Antonov V.V., Lapin A.E., Kashirina T.Ya., Malakhov G.P. they say that creativity is nothing more than a connection to a single information field and all a person can do is find the most acceptable way to enter it.

The information field is heterogeneous in its composition. It is extremely multidimensional and the lower - mental layer consists of five layers of the mind - ordinary, higher, illuminated, intuitive, global. These positions were most fully developed by Sri Aurobindo, according to whom we will give these characteristics. He believed that each layer of the mind has a special color and vibration. It is the properties or qualities of light, the nature and frequency of vibrations, that are the barriers to the layers of the mind. So, in his interpretation, the lowest or ordinary mind - gray maize with many dark dots that swarm around people's heads, that huge mass of information that constantly attacks a person. (Esoteric teachings consider the human brain not as an organ that creates thoughts, but as a receiver that constantly catches certain thoughts and information). The ordinary mind is the densest layer, enormous in volume, which holds ordinary people captive of its information, focused primarily on the nature and quality of interpersonal communication. People in it are endlessly dependent on each other, mutual emotions, and often cannot maintain a single, stable mood for a long time. They, as A. Bailey puts it, are unhappy because they are at the bottom of the ocean and do not imagine the beauty of the upper sunny floors. Creativity is possible here to an extremely small extent. Most often, it is reduced and practically replaced by a compilation of already created works.

Higher intelligence is most often found among philosophers and thinkers. Its color also changes. Dove-like shades appear in it, flashes of light are observed, which do not disappear for some time. Here information is concentrated, focused on a specific mind, which is quite rigid in nature and focused on constant analysis and dissection. A person entering this layer cannot understand the information received immediately; he spends a long time correlating it with his own attitudes, selecting episodes from it, arranging it in a new way and creating his own object, different from the general information field. Emotions in this layer last longer than in the ordinary mind, but they also depend on the mass of surrounding circumstances. The illuminated mind is characterized by a different nature. Its basis is no longer “general neutrality, but clear spiritual lightness and joy; on this basis, special tones of aesthetic consciousness arise.” This layer of the mind is flooded with a golden stream of light, saturated with different shades, depending on the consciousness of the creator. A person who has entered this layer is in a state of lightness, joy, love for everyone around him, and constant readiness for positive actions. The mind expands limitlessly and joyfully accepts the whole world and itself in this world. Information coming from the general field is perceived immediately and does not require long-term adaptation to the qualities of the creator. Creativity is carried out in a variety of directions - sciences at the level of discoveries, art in all its multi-genres, worship of the new, sincere love. The ascent to this layer is characterized by a sudden flowering of creative abilities and most often manifests itself in poetry. Most of the great poets came to this layer, the great composers drew their ideas from it. Every person can go into it from time to time and a clear confirmation of this are children who, in the period of 4-7 years, often speak in verse, and although mechanical rhyming most often occurs here, a certain connection with an illuminated mind is present. A person who has mastered spiritual practice and can enter this layer of the mind stays in it for as long as he needs, illuminating others with his light and warmth. These are radiant people who attract others to them.

Intuitive Mind It is distinguished by clear transparency, mobility, airiness, and is not connected with metal structures. The exit into it happens suddenly. After staying in other layers of the mind, a person becomes knowledgeable not at the level of constructing mental structures, but at the level of all-knowledge, all-understanding. Intuition brings a state of constant joy and happiness, when a person reaches the stage of not cognition, but recognition, as Sri Aurobidno says - remembering the truth occurs. “When a flash of intuition occurs, it is clearly visible that knowledge is not the discovery of something unknown - it only discovers itself, there is nothing more to discover - it is a gradual recognition in time of that moment of Light when we saw everything. The language of intuition is extremely specific, there are no pompous phrases in it, but there is also no warmth of an illuminated mind.

Global Mind - a peak that people rarely approach. This is the level of cosmic consciousness where personal individuality is still preserved. It is from this layer that great religions come, all great spiritual teachers draw their strength from it. It houses the greatest works of art. The consciousness of a person who has entered this layer is a mass of constant light, where the contradictions of the lower layers of the mind are eliminated, since everything is filled with light, creating harmony, joy and universal love. A person can rarely achieve global consciousness, but when this happens, it is accomplished in different ways: religious dedication, artistic, intellectual activity, heroic deeds - everything with which a person can overcome himself. All these layers of the mind are mental, lower layers, which can be reached through long-term spiritual practice, beautifully developed by humanity.

In fact, the spiritual practices-methods created in the East are the only ones that were given to man that could and can create powerful spiritual health and superhuman abilities. Thus, the fruits of creativity, which we often with vanity consider our own, are essentially a connection to a single information field, different layers of the mind. It is no coincidence that spiritual teachers of humanity rarely put their names under works written them, explaining this by saying that they were simply dictated to him.

Methods of accessing different layers of the mind are extremely diverse. Now they are becoming popular all over the world. But everywhere the general position remains the preservation of spiritual and physical purity, abstinence in food, and the use of a significant number of well-calibrated meditations.

Almost everyone feels connected to different layers of the mind at different times. Everyone remembers moments of recognition of a certain area, phrases, thoughts that seem to have already been encountered, although you clearly know that you are encountering it for the first time. The connection with the information field is very clearly visible when a person is passionate about a certain idea. Some time after thinking it over, the necessary literature literally begins to “fall in” on him, and meetings take place with people who can help him. That is, access to a common information layer always attracts related information. Everyone has intuitive glimpses when a person clearly knows what will happen, but the concrete mind begins to persuade him that all this is illogical and, therefore, absurd. Hence, a significant number of wrong actions.

This information makes it possible to get closer to the study of the phenomenon of provincial creativity. It is known that in some parts of the globe, which includes Russia, the layer of ordinary or lower intelligence is narrowed, therefore the entire culture of our country is saturated with information from higher layers. Hence, people born in this territory are initially endowed with great data for access to higher information fields. But the narrowing of this layer is represented differently in specific areas and, to a large extent, depends on the abundance of people living together. In territories with a large number of them, the lower layer of the mind (the capital) becomes more dense, which is so concentrated that it is extremely difficult to break through it. The abundance of people gives rise to a very powerful field that coordinates group actions, including everyone in single vibrational vibrations. As long as you live and act in resonance with everyone, you feel comfortable, and only when a person begins to look for his own path, that is, to get out of the general flow of vibrations, do those around him begin to consciously put pressure on him. Each of us has experienced resistance when we try to make our own decisions. At this moment, there are many people around who give completely natural “correct” arguments and attack us with their reasoning. They only calm down when they get their way. Sri Aurobidno Ghose pointed out: “As long as we wander in the common herd, life turns out to be relatively simple, with its successes and failures - a few successes, but not too many failures; however, as soon as we want to leave the common rut, thousands of forces rise up, suddenly very interested in us behaving “like everyone else” - we see with our own eyes how well our imprisonment is organized.” In this situation, a person’s strength is spent primarily on resisting surrounding influences; a person floats in the waves of the lower mind, not having the strength to go beyond its limits.

Staying in the provinces, in nature, is extremely necessary for creators. This is nothing more than an attempt and opportunity to be in a less saturated layer of the lower mind, to concentrate one’s forces and enter other information fields. Representatives of all branches of knowledge and art have written quite a lot about this need. In the provinces, the layer of the lower mind is not only narrowed, it is also less dynamic, as if rarefied. Among the many gray dots and swirls, other colors are visible, other vibrations are felt. Fewer attacks from alien forces make it easier to overcome these barriers.

The next point that is obvious here is related to the types of activities. The practical orientation of the work of the majority of the inhabitants of the province with a clear alignment of value orientations and the very way of life directs a person not towards the pointless rational flexibility of the intellect, but towards stability associated with a person’s life values. This relative calm does not disturb and does not give rise to the dynamics of the lower mind to the same extent as in other environments, as a result of which its attacks are somewhat smoothed out and there is an opportunity to preserve one’s “I”. Despite the fact that currently the media has overly saturated the layer of the lower mind, this is balanced by the stability of the way of life. It seems that this is why the province remains a field of creation, in which the very way of life orients a person toward creativity.

The history of mankind quite clearly demonstrates the dependence of creativity on the place of creation, where creators retire to quiet, remote, high-mountain places, where the layer of the lower mind is sparse.

Therefore, now we are faced with the task of not only teaching young people a set of information collected by a specific mind, but also drawing their attention to teaching time-tested techniques that open access to these structures, teaching them to perceive high works of art, communicate and understand worthy scientific discoveries.

In this case, studying the spiritual practices of the East will be invaluable; there are now quite a lot of books and schools in this direction. It will be useful for students to turn to literature of this kind and develop the habit of new activities.

It seems that it will not only optimize creative processes, but will allow us to solve more global problems: it will show the path to the formation of true spirituality, teach us how to draw from high layers of information, and prepare us for painstaking and intense work. After all, it is known that intellectual and spiritual activity is the most difficult and requires enormous will, self-effort, helping to achieve the desired state, which comes only as a result of long-term thoughtful practice.

Now creativity, its comprehension, and the development of creative skills are experiencing a real boom. The combination of East-Western methods of creativity, the widespread dissemination of meditative and other spiritual techniques begins to possess a certain amount of creative skills, its own creative laboratory, which allows you to fill the vacuum of knowledge and skills in a short time. Therefore, creativity becomes not just desirable, but a necessary component of human life. And, if in ancient times it provided the possibility of survival in the natural environment, now it is a tool for survival in the social environment.

Obviously, the scale of creative processes will increase, as society moves to a new level of development, where intellectual activity becomes the main sphere of activity, so it is simply impossible to overestimate the study of the problem of the relationship between creativity and culture.

→

CREATIVITY IN EVERYDAY CULTURE

Levochkina Anastasia Viktorovna TSU named after. G.R. Derzhavina.

Annotation. Creativity is a historically evolutionary form of human activity, expressed in various types of activities and leading to personality development. Through creativity, historical development and the connection of generations are realized. It continuously expands human capabilities, creating conditions for conquering new heights.

Key words: creativity, everyday life, search for truth, search for yourself.

People do a lot of things every day, and each task is a task, sometimes more or less difficult. When solving problems, an act of creativity occurs, a new path is found, or something new is created. This is where special qualities of intelligence, talent, observation, the ability to compare and analyze, find connections and dependencies are required - all that together constitutes creative abilities. Creativity is a historically evolutionary form of human activity, expressed in various types of activities and leading to personality development. Through creativity, historical development and the connection of generations are realized. It continuously expands human capabilities, creating conditions for conquering new heights.

Creativity, Berdyaev believed, reveals the genius nature of a person - every person is a genius; and the combination of genius and talent creates a genius. You can not be a genius, but you can be brilliant. The love of a mother for her child, the painful search for the meaning of life, can be brilliant. Genius is, first of all, internal creativity, self-creativity, turning oneself into a person capable of any specific type of creativity. Only such primal creativity is the source and basis of any creative activity. Creative activity is the main component of culture, its essence. Culture and creativity are closely interconnected, moreover

are interdependent. It is unthinkable to talk about culture without creativity, since it is the further development of culture (spiritual and material). Creativity is possible only on the basis of continuity in the development of culture. The subject of creativity can realize his task only by interacting with the spiritual experience of humanity, with the historical experience of civilization. Creativity as a necessary condition includes the adaptation of its subject to culture, the actualization of some results of past human activities. Creativity covers all areas of human life, so the creative process can be varied. After all, creativity has no boundaries. A person himself creates the environment, forming the color scheme that he likes. A creative person strives for independence and self-sufficiency. In relationships, creative people have a huge vocabulary and personal reserve: books they have read, places they have visited. Creative people have not only talent and genius, but also a sharp mind, they are active, observant and at the same time have a good sense of humor.

Thus, creativity penetrates into all spheres of everyday culture such as: interpersonal; social; as well as the household sphere. All of them include creative activity, communication, various needs, etc.

Creativity can also manifest itself in the everyday sphere, for example: in the modern cultural practice of the general population, there is a fairly extensive layer of everyday creativity, functioning according to the folklore type. This usually includes, in particular, musical (song, instrumental) and verbal creativity. These are songs (everyday, street, student, karaoke, tourist, partly so-called bard songs, etc.), choruses, various kinds of oral narratives of a non-fairy tale nature: legends, modern tales, tales, oral stories, anecdotes, rumors and a significant area of everyday speech element.. Thus, a great many famous names of representatives of various professions, all these people showed a creative approach in some kind of activity and released their abilities in some field. They wrote about creativity: Nicola Poussin “morality, behavior, creativity”; F. Nietzsche “creativity and man”; L.A. Seneca “creativity and man”;

V.O. Klyuchevsky “creativity and art”; G. Flaubert “psychology and creativity”; N. Berdyaev “the meaning of creativity” and many others.

Creativity is not a new subject of research. It has always interested thinkers of all eras. People do a lot of things every day, and each task is a task, sometimes more or less difficult. When solving problems, an act of creativity occurs, a new path is found, or something new is created. This is where special qualities of the mind are required, such as observation, the ability to compare and analyze, to find connections and dependencies - all that together constitutes creative abilities.

Creativity is a manifestation of a person’s highest abilities, the highest form of his activity, the creation of something new that did not exist before. Attempts to reveal the essence of creativity and its laws were made by many philosophers of the past, starting from ancient times. According to some philosophers, a person is a conscious being who not only reflects the world, but also transforms it, which would be impossible without the presence of creative ability, without creative activity. It is in creativity that the essence of man is revealed with utmost clarity as a transformer of the world, a creator of new relationships and himself.

Attitudes towards creativity have changed dramatically in different eras. In Ancient Rome, only the material and the work of the bookbinder were valued in a book, and the author had no rights - neither plagiarism nor forgeries were prosecuted. Creativity in the era of antiquity was considered as self-realization of the individual, as an activity that brings inner peace for itself and for its own sake. Creativity was separated from work. Thus, free citizens could engage in creativity, unlike them, a simple worker did not have such an opportunity. In the Middle Ages and much later, the creator was equated with a craftsman, and if he dared to show creative independence, then it was not encouraged in any way. And only in the 19th century. artists, writers, scientists and other representatives of creative professions were given the opportunity to live from the sale of their creative product. As A. S. Pushkin wrote, “inspiration is not for sale, but you can sell a manuscript.” At the same time, the manuscript was valued only as a matrix for replication, for the production of a mass product.

In the 20th century. the real value of any creative product was also determined not by its contribution to the treasury of world culture, but by the extent to which it can serve as material for replication (in reproductions, television films, radio broadcasts, etc.). Therefore, there are differences in income that are unpleasant for intellectuals, on the one hand, between representatives of the performing arts (ballet, musical performance, etc.), as well as dealers in mass culture and, on the other hand, creators.

Society, however, has at all times divided two spheres of human activity: otium and oficium (negotium), respectively, leisure activity and socially regulated activity. Moreover, the social significance of these areas has changed over time. In Ancient Athens, bios theoretikos - theoretical life - was considered more “prestigious” and acceptable for a free citizen than bios praktikos - practical life.

Interest in creativity, the personality of the creator in the 20th century. connected, perhaps, with the global crisis, the manifestation of man’s total alienation from the world, the feeling that through purposeful activity people are not solving the problem of man’s place in the world, but are pushing its solution even further away.

In our time, in the era of scientific and technological progress, life is becoming more diverse and complex, and it requires from a person not stereotyped, habitual actions, but mobility, flexibility of thinking, quick orientation and adaptation to new conditions, a creative approach to solving large and small problems. If we take into account the fact that the share of mental labor in almost all professions is constantly growing, and an increasing part of the performing activity is being transferred to machines, then it becomes obvious that a person’s creative abilities should be recognized as the most essential part of his intelligence and the task of their development is one of the most important tasks in the education of modern man. After all, all cultural values accumulated by humanity are the result of people’s creative activity.

Thus, I would like to note that the problems of creativity throughout history have been studied by many sciences: philosophy, psychology, science, cybernetics, information theory, pedagogy, etc. In recent decades, the question has arisen about the creation of a special science that would study human creative activity, - heuristics (it is believed that the term

“heuristics” comes from “eureka” - “I found it!”, an exclamation attributed to Archimedes upon his unexpected discovery of the fundamental law of hydrostatics; “eureka” is a word that expresses joy when solving a problem, when a successful thought, idea, or “insight” appears). The range of its problems is wide: here is the question of the specific features of creative activity, and the structure, stages of the creative process, types of creative activity, the relationship between scientific and artistic creativity, the role of guesses and chance, talent and genius, stimulating and repressive factors of the creative process , about the role of motivational and personal factors in creative activity, the influence of social conditions on the manifestation of creative abilities and on the creative process, about the creative productivity of age, the role of scientific methods in productive thinking, the style of thinking in science and creativity, dialogue and discussions as means and forms of scientific creativity, etc. Philosophy studies the ideological side of human creative activity, problems of an epistemological and general methodological nature. Its competence includes such problems as creativity and the essence of man, reflection and creativity, alienation and creative abilities, epistemological specificity of the creative process, creativity and practice, the relationship between the intuitive and the discursive, the sociocultural determination of creative activity, the relationship between the individual epistemological and sociological levels of creativity, ethics scientists and creative activity, epistemological and ethical aspects, etc.

Creativity is heterogeneous: the variety of creative manifestations can be classified on different grounds. Let us only note that there are different types of creativity: production and technical, inventive, scientific, political, organizational, philosophical, artistic, mythological, religious, everyday life, etc.; in other words, types of creativity correspond to types of practical and spiritual activity. Thus, it can be noted that the types of creativity are not only heterogeneous, but also complex in structure.

There is still an idea that limits scientific creativity to finding a solution to a problem. But in this case, the very beginning of the creative process, the beginning of its unfolding, is not taken into account. Awareness of the need, formulation and formulation of the problem are the initial stages of the process of finding a solution to the problem. By fixing a specific problem situation and the purpose of the research, the problem directs the entire creative process in its complex movement towards the result. The ideal, as the central link of the creative process, is born under the direct influence of problematic nature and to satisfy the corresponding needs of the subject.

Speaking about needs, it is impossible not to pay attention to the nature of creativity. The concept of the nature of creativity is related to the question of the needs of the individual. Human needs are divided into three basic groups: biological, social and ideal.

Biological (vital) needs are designed to ensure the individual and species existence of a person. It gives rise to many material quasi-needs: food, clothing, housing; in the technology necessary for the production of material goods; in means of protection against harmful influences. The biological need also includes the need to save energy, which encourages a person to look for the shortest, easiest and simplest path to achieving his goals.

Social needs include the need to belong to a social group and occupy a certain place in it, to enjoy the affection and attention of others, to be the object of their love and respect. This also includes the need for leadership or the opposite need to be led.

Ideal needs include the needs of knowing the world around us as a whole, in its individual details and one’s place in it, knowing the meaning and purpose of one’s existence on earth.

I.P. Pavlov, classifying the need for search as biological, emphasized that its fundamental difference from other vital needs is that it is practically unsatisfiable. The need for search acts as the psychophysiological basis of creativity, which in turn is the main engine of social progress. Therefore, its insatiability is fundamentally important, because we are talking about a biologically predetermined need for constant change and development.

The study of creativity as one of the most natural forms of human fulfillment of the biological need for search and novelty. Many psychophysiologists tend to consider creativity as a type of activity aimed at changing a problem situation or at changes in the subject interacting with it.

Such activity is a behavioral characteristic, and the behavior of people and animals is infinitely diverse in its manifestations, forms and mechanisms.

Naturally, in the life of any living organism and, first of all, a person, both an automated, stereotypical response and a flexible, exploratory response, aimed at discovering new ways of interacting with the environment, are very important. Both types of response occupy an important place in the everyday behavior of living beings, mutually complementing each other, but the relationships of these types are characterized not only by mutual complementarity. Stereotypical, automated response allows you to act effectively and survive in relatively stable conditions, maximizing saving strength and, mainly, intellectual resources. Search and research activity, on the contrary, constantly stimulates the work of thinking, thus creating the basis for individual programmable behavior, which makes it the driving force for the development and self-development of the individual. Moreover, search activity is not only a guarantee of acquiring individual experience, but also determines the progress of the population as a whole. Therefore, from the point of view of the theory of natural selection, the most appropriate survival is for those individuals who are inclined to search and are able, on the basis of the knowledge acquired during the search, to correct their own thinking and behavior.

And if in animals search activity materializes in exploratory behavior and turns out to be organically woven into the fabric of life, then in humans, in addition, it finds expression in creativity. Creativity for a person is the most common and natural variant of the manifestation of research behavior. Research, creative search is attractive from at least two points of view: from the point of view of obtaining some new product and from the point of view of the significance of the search process itself. In social, psychological and educational terms, it is especially valuable that a person is able to experience and experiences true pleasure not only from the results of creativity, but also from the very process of creative and research search.

A significant part of people, when choosing a path in life, are looking for a job that does not require the use of creative abilities. Many people experience emotional discomfort in problematic situations when choice is necessary, when independence in decision-making is required. Therefore, one of the main differences between a creator is not simply the absence of fear of a problematic situation, but the desire for it. Typically, the desire to search and resolve problem situations is combined with the ability to take advantage of instability and ambiguity.

Summarizing the above, we note that in relation to creative activity we can say that the main factor stimulating the generation of creative guesses and hypotheses is the strength of the need (motivation), and the factors that determine the content of the hypotheses are the quality of this need and the equipment of the creative subject, the reserves of his skills and knowledge. Intuition not controlled by consciousness always works for the need that dominates in the hierarchy of needs of a given individual. The dependence of intuition on the overriding need (biological, social, cognitive, etc.) must always be taken into account. Without a pronounced need for cognition (the need to think about the same thing for hours), it is difficult to count on productive creative activity. If solving a scientific problem for an individual is only a means to achieve, for example, socially prestigious goals, his intuition will create hypotheses and ideas related to satisfying the corresponding need. The probability of obtaining a fundamentally new scientific discovery in this case is relatively small.

Nikolai Berdyaev in his book “The Meaning of Creativity” summarizes

the result of previous searches and the prospect of developing his independent and original philosophy is open. It was created in a situation of conflict with the official Orthodox Church. At the same time, Berdyaev entered into a heated debate with representatives of Orthodox modernism - the group of D.S. Merezhkovsky, oriented towards the ideal of the “religious community”, and the “sophiologists” S.N. Bulgakov and P.A. Florensky. The originality of the book was immediately recognized in religious and philosophical circles in Russia. Especially

V.V. reacted actively to it. Rozanov. He stated that in relation to all previous works of Berdyaev, “the new book is a “general vault” over individual outbuildings, buildings and closets.”

Nikolai Aleksandrovich Berdyaev was born on March 6/19, 1874 in Kyiv. His paternal ancestors belonged to the highest military aristocracy. Mother is from the family of the Kudashev princes (on the father's side) and the Counts of Choiseul-Guffier (on the mother's side). In 1884 he entered the Kiev cadet corps. However, the environment of a military educational institution turned out to be completely alien to him, and Berdyaev entered the Faculty of Science at the University of St. Vladimir. In the winter of 1912-1913. Berdyaev together with his wife L.Yu. Trushevoy travels to Italy and brings from there the plan and the first pages of a new book, completed by February 1914. It was “The Meaning of Creativity,” published in 1916, in which, Berdyaev noted, his “religious philosophy” was first fully realized and expressed. This was possible because the principle of constructing philosophy by identifying the depths of personal experience was clearly understood by him as the only path to universal, “cosmic” universalism.

To the traditions of Russian philosophy, he connects the medieval mysticism of Kabbalah, Meister Eckhart, Jacob Boehme, Christian anthropology of Fr. Baader, nihilism Fr. Nietzsche, modern occultism (in particular the anthroposophy of R. Steiner).

It would seem that such an expansion of the boundaries of philosophical synthesis should have created only additional difficulties for Berdyaev. But he quite consciously went for it, because he already possessed the key to harmonizing that significantly philosophical, religious and historical and cultural material that formed the basis of “The Meaning of Creativity.” This key is the principle of “anthropodicy” - the justification of man in creativity and through creativity. This was a decisive rejection of traditionalism, a rejection of “theodicy” as the main task of Christian consciousness, a refusal to recognize the completeness of creation and revelation. Man is placed at the center of existence - this is how the general outline of his new metaphysics is determined as the concept of “monopluralism”. The central core of “The Meaning of Creativity” becomes the idea of creativity as a revelation of man, as an ongoing creation together with God.

Thus, Berdyaev strives to clarify as much as possible and adequately express the core of his religious and philosophical concept, which is embodied in “The Meaning of Creativity.”

Speaking about creative freedom, N. Berdyaev repeats the thoughts of Kant and Hegel about the interaction of freedom and creativity.

Creativity is inseparable from freedom. Only the free one creates. Only evolution is born from necessity; creativity is born only from freedom. When we talk in our imperfect human language about creativity out of nothing, we are talking about creativity out of freedom. Human creativity from “nothing” does not mean the absence of resisting material, but only means absolute profit that is not determined by anything. Only evolution is determined; creativity does not follow from anything that precedes it. Creativity is inexplicable. Creativity is a mystery. The secret of creativity is the secret of freedom. The mystery of freedom is bottomless and inexplicable, it is an abyss. The mystery of creativity is also bottomless and inexplicable. Those who deny the possibility of creativity out of nothing must inevitably place creativity in a deterministic series and thereby reject the freedom of creativity. In creative freedom there is an inexplicable and mysterious power to create from nothing, non-deterministically, adding energy to the world's energy cycle. The act of creative freedom is transcendental in relation to the world given, to the vicious circle of world energy. An act of creative freedom breaks through the deterministic chain of world energy. And from the point of view of the immanent world given, it must always appear as creativity out of nothing. The fearful denial of creativity from nothing is submission to determinism, obedience to necessity. Creativity is something that comes from within, from a bottomless and inexplicable depth, and not from the outside, not from world necessity. The very desire to make the creative act understandable, to find a basis for it, is already a misunderstanding of it. To understand the creative act means to recognize its inexplicability and groundlessness. The desire to rationalize creativity is connected with the desire to rationalize freedom. Those who recognize it and who do not want determinism are also trying to rationalize freedom. But the rationalization of freedom is already determinism, since it denies the bottomless mystery of freedom. Freedom is ultimate; it cannot be derived from anything or reduced to anything. Freedom is the baseless basis of being, and it is deeper than any being. You cannot reach the rationally tangible bottom of freedom. Freedom is a bottomless well, its bottom is the last secret.

But freedom is not a negative limiting concept that merely indicates a boundary that cannot be rationally crossed. Freedom is positive and meaningful. Freedom is not only the negation of necessity and determinism. Freedom is not a kingdom of arbitrariness and chance, in contrast to the kingdom of law and necessity. Those who see in it only a special form of spiritual determination, determination not external, but internal, do not understand the secret of freedom. They consider free everything that is generated by causes lying within the human spirit. This is the most rational and acceptable explanation of freedom, while freedom is both irrational and unacceptable. Since the human spirit enters into the natural order, everything in it is just as determined as in all natural phenomena. The spiritual is no less determined than the material. The Hindu doctrine of Karma is a form of spiritual determinism. Karmic reincarnation does not know freedom. The human spirit is free only to the extent that it is supernatural, goes beyond the order of nature, and is transcendental to it.

Thus, determinism is understood by Berdyaev as an inevitable form of natural existence, i.e. and the existence of man as a natural being, even if the causality in man was spiritual and not physical. In the deterministic order of nature, creativity is impossible, only evolution is possible.

Thus, speaking about freedom and creativity, Berdyaev argues that man is not only a natural being, but also a supernatural one. And this means that man is not only a physical being, but also not only a mental being in the natural sense of the word. Man is a free, supernatural spirit, a microcosm. And spiritualism, like materialism, can see in man only a natural, albeit spiritual being, and then subordinates him to spiritual determinism, just as materialism subordinates him to the material. Freedom is not only the generation of spiritual phenomena from previous ones in the same being. Freedom is positive creative power, not grounded or conditioned by anything, flowing from a bottomless source. Freedom is the power to create out of nothing, the power of the spirit to create not from the natural world, but from oneself. Freedom in its positive expression and affirmation is creativity.

The creative act is always liberation and overcoming. There is an experience of power in it. Discovering one's creative act is not a cry of pain, passive suffering, nor is it a lyrical outpouring. Horror, pain, relaxation, death must be overcome by creativity. Creativity is essentially a way out, an outcome, a victory. The sacrifice of creativity is not death and horror. Sacrifice itself is active, not passive. Personal tragedy, crisis, fate are experienced as tragedy. This is the way. Exclusive concern for personal salvation and fear of personal death are outrageously selfish. Exclusive immersion in a crisis of personal creativity and fear of one’s own powerlessness are hideously selfish. Selfish and selfish self-absorption means a painful separation between man and the world. Man was created by the Creator as a genius (not necessarily a genius) and genius must be revealed in himself through creative activity, to overcome everything that is personally egoistic and personally selfish, every fear of one’s own death, every glance at others. Human nature in its fundamental essence, through the Absolute Man - Christ, has already become the nature of the New Adam and has reunited with the Divine nature - it no longer dares to feel separated and secluded. Isolated depression in itself is already a sin against the Divine calling of man, against the call of God, God's need for man.

It seems that, speaking about freedom, N. Berdyaev sees in it a way out of slavery, from the enmity of the “world” into cosmic love, victory over sin, over lower nature. According to Berdyaev, only the liberation of a person from himself brings a person to himself. Freedom from the “world” is a connection with the true world - the cosmos. Getting out of yourself is finding yourself, your core. And we can and should feel like real people, with a core of personality, with a significant, and not illusory, religious will.

Thus, a person is free in his creativity - this is the highest level of development, and creativity penetrates into all spheres of human existence. Creativity is not the transition of the power of the creator to another state and thereby the weakening of the previous state - creativity is the creation of new power from something that has not existed, which did not exist before. And every creative act is essentially creativity out of nothing, i.e. the creation of new power, rather than the change and redistribution of the old. In every creative act there is absolute profit, growth. The createdness of being, the growth that occurs in it, the profit achieved without any loss - speak of the creative and creativity. The createdness of being speaks about the creator and creativity in a double sense: there is a Creator who created created being,

and creativity is possible in created being itself. The world was created not only created, but also creative. A world that was not created, that did not know the creative act of profit and the increase in existential power, would not know anything about creativity and would not be capable of creativity. Penetration into the createdness of being leads to awareness of the opposition between creativity and emanation. If the world is created by God, then there is a creative act and creativity is justified. If the world only emanates from God, then there is no creative act and creativity is not justified.

In true creativity, nothing decreases, but everything only increases, just as in God’s creativity of the world, Divine power does not decrease from its transition into the world, but a new, not former power arrives. Thus, according to Berdyaev, creativity does not mean a transition of power to another state; paying attention to the positions he identifies, such as creatureliness and creativity, we can assume that these positions are considered by Berdyaev as phenoonyms. Therefore, we can conclude that Berdyaev’s creatures have creativity. It seems that if the world is also creativity, then it is everywhere, therefore creativity exists in everyday culture.

Book by N.A. Berdyaev allows us to delve into the meaning and process of creativity in sufficient detail, to analyze creativity in the process of everyday life. In everyday life, people have to invent, create their own world. People participate in “their” world both through their external plane (activity, behavior) and their internal (spiritual-psychic) world. Inner life strives to be consistent with external life and vice versa, since people one way or another want to live in harmony with themselves, in a state of mental balance. This is possible thanks to the ability of people to create and impose their own semantic and value-normative order on the world of facts and processes and bring both of these worlds into correspondence with each other. It is also clear that social interaction is impossible without stable symbolic forms. Artifacts appear - structurally similar objects. The culture of everyday life is organized in such symbolic forms as positive experience, which tends to be passed on from person to person, from generation to generation. The sociocultural experience of people is encoded in facial expressions, gestures, body movements, intonations and words, formulas, images, technologies. These manifestations exist in the areas of joint human activity, interpersonal verbal and nonverbal communication, written texts, and the spheres of nonverbal aesthetic objects. To participate in this type of communication, a person must have a certain cultural competence.

Thus, people who are naturally endowed with a creative gift claim that their creativity belongs to the first type. This is a natural property of their normal thinking. They access it as easily as changing gear in a car. Creativity and constructiveness are a characteristic feature of the worldview of such people. It is the willingness to look for new ideas on your own and to notice interesting thoughts expressed by others. Some of the main features of such “natural” creativity can be compared with methods of purposeful lateral thinking. All the features of creativity are manifested in the following moments of everyday culture, such as: 1. creative pause; 2. call; 3. green hat; 4. simple focusing; 5. alternatives; 6. provocative ideas; 7. listening skills;8. creative search.

Let us consider the manifestation of the features of creativity in everyday culture in more detail: The first feature of the manifestation of creativity is the “creative pause” - this is the ability to be surprised. Willingness to interrupt the smooth flow of actions or thinking to ask yourself the question: “Is there an alternative?”, “Does it need to be done this way and only this way?”, “Where can this be applied?” A creative break comes during a conversation or reading. It's just a pause, nothing more. It is not as specific as focusing. Secondly, a feature of creativity is the “creative challenge” - this is a key moment in everyday creativity. Should we do it the way we do? Is there a better way? Let's try to look at this more closely. It is very important to remember that a challenge is not a criticism. As soon as a challenge becomes critical, it ceases to be part of creativity. Constant criticism is destructive and unacceptable. Creative challenge is the willingness to recognize that other ways of doing things are possible and that those ways may offer us certain benefits. Creative challenge does not look for flaws, but only suggests that the existing method is not always the best. The call includes a pause. It is a moment of wonder when we ask ourselves why we do what we do the way we do. It is also related to analysis

traditionality. Is the usual way of acting due to historical reasons? Is he bound by the demands of other people or circumstances? Challenge is mild dissatisfaction and the belief that there are opportunities for change for the better. The third feature of creativity is such an element as the “green hat”. The mindset that people get when they put on a green hat has a lot to do with everyday creativity. A green hat can be worn without others noticing. But you can also consciously ask your interlocutors or meeting participants to get their green hats. This means a call to make a creative effort, a call not to limit yourself to one idea and try to find alternative solutions. The fourth feature of creativity can be described as the element of “simple focusing”. Focusing has more purpose than a creative pause or challenge. This is the definition of a creative need: “I want to find new ideas, (area or goal).” You can determine the focus and put it aside “for future use.” You can even define focus as such, without the intention of working on it further. The ability to assign focus is an important property of everyday creativity. The very knowledge that something is defined as “creative focus” will cause you to unintentionally address this issue. It is also part of everyday creativity. The fifth feature of creativity is “Alternatives”. The search for alternatives is the most obvious example of everyday creativity. Sometimes this search is inevitable and dictated by external circumstances. In this case, “natural”, everyday creativity helps to expand the range of search, not limited to those solutions that immediately come to mind, and without going into unnecessary details. It encourages a person to look for unusual options, and this is, perhaps, its main advantage. It is more difficult to pause to look around for alternatives when there are no obvious problems, difficulties or needs. This aspect of seeking alternatives is closely related to creative pause, challenge and simple focus. He is characterized by a willingness to look for the possibility of improvement in any phenomenon.

The sixth feature of creativity is “provocative ideas” - this is an element in which the culture of creativity is firmly rooted in the organization, provocative ideas become an element of everyday creativity. People begin to use the word “PRO” naturally, naturally, and even come up with very strong provocative ideas (PRO, the conveyor belt moves upside down). Of course, this style of thinking is only possible if a person is familiar with the method of putting forward provocative ideas. Nevertheless, many people who are naturally endowed with creative abilities tend to consider “strange” ideas and even encourage colleagues and subordinates to do so. This can also include the readiness to interpret any idea, even the most serious or expressed as a joke, as provocative. A provocative mindset has two positive aspects: 1. The most imprecise or ridiculous idea can be benefited by applying the transition technique to it.2. Putting forward provocative ideas allows you to “break” thinking from its usual rut.

The seventh feature of creativity is no less important than all the other features: “the ability to listen to your interlocutor.” Even if you yourself are not going to come up with something new (or think that you are not going to), you can help the birth of valuable ideas by encouraging your interlocutor with a friendly attitude. It is important to remember that a keen eye is also a source of creativity. This may also include developing the overall creative culture of the organization and encouraging creative attitudes and behavior among employees. The eighth final feature is “Creative Search” by I.P. Pavlova. Considering the need for search to be biological, I.P. Pavlov emphasizes the need for search. Where creative search acts as the psychophysiological basis of creativity, which in turn is the main engine of social progress. Creativity for a person is the most common and natural variant of the manifestation of research behavior. Research, creative search is attractive from at least two points of view: from the point of view of obtaining some new product and from the point of view of the significance of the search process itself.

Thus, based on the materials of the features we have considered, the manifestation of creativity in the culture of everyday life, and the analysis of the work of N.A. Berdyaev “The Meaning of Creativity” we once again confirmed the fact that creativity plays an important role, since it is a historically evolutionary form of human activity, expressed in various types of activities and leading to the development of an individual’s creative abilities. From the work of N.A. Berdyaev, we discovered that creativity is a manifestation of freedom, and the creative act is liberation and overcoming. A person is free in his creativity - this is the highest level of development, it penetrates into all spheres of everyday culture. Through it, historical development and the connection of generations are realized. It continuously improves human capabilities, thereby creating conditions for conquering new heights.

We would also like to note that the culture of everyday life contributes to the development of relationships, both interpersonal and social. After all, relationships are creativity. In the interpersonal sphere, the following types of creative activity are distinguished: anticipation,

imagination, fantasy, empathy, etc. In turn, socio-cultural creativity includes: social and political amateur creativity; derivative technical amateur creativity; amateur artistic creativity; natural science amateur creativity, etc. We will consider all these types of creativity and their manifestation in the interpersonal and social spheres in more detail in the next chapter.

List of used literature.

Isaac G. Yu. Intelligence: a new view // Questions of psychology. - No. 1.- 2006.

Andreeva G.M. Social Psychology. - M.: Aspect Press, 1998. - pp. 137-303.

Arnaudov M. Psychology of literary creativity. - M.: Progress,

Baller E.A. Culture. Creation. Human. // Young Guard.- 1970.-P.148

Bogoyavlenskaya D. B. Intellectual activity as a problem of creativity. - Rostov-on-Don, 2007.

Vishnyak A.I. Tarasenko V.I. Youth leisure culture. - Kyiv: Higher School, 1988-53s. Goncharenko N.V. Genius in art and science. - M.: Art, 2006.

Grigorenko E. A., Kochubey B. I. Study of the process of putting forward and testing hypotheses by twins // New research in psychology. - 2002.

Gruzenberg SO. Psychology of creativity. - Minsk, 2005.

Gudkov L. Society-culture-person. // Free Thought.-1991.-No. 17-P.54.

Demchenko A. Possibilities of Russian leisure // Club. - M., 1996. No. 7.-P.10-13.

Dorfman L. Creativity in art - the arts of creativity. // Science.- 2000.-549 p.

Erasov B.S. Social cultural studies: Textbook. - M: Aspect Press, 1997.-P.196-233. Eroshenkov I.N. Cultural and leisure activities in modern conditions. - M.: NGIK, 1994.32p.

Zharkov A.D. Organization of cultural education work: Textbook - M.: Education, 1989.-P.217-233.

Ikonnikova S.N. Dialogues about culture. - M.: Lenizdat, 1987-167s.

Ilyin I. About a creative person. // VVSh.-1990.-No.6-P.90-92.

Kamenets A.V. Activities of club institutions in modern conditions: Textbook. -M.: MGUK, 1997-41s.

Kisileva T.G., Krasilnikov Yu.D. Fundamentals of socio-cultural activities: Textbook. - M.: Publishing house MGUK, 1995.-136 p.

Club studies: Textbook / Edited by Kovsharov V.A.-M.: Education, 1972.-P.29-46. Klyusko E.M. Leisure centers: content and forms of activity // Leisure centers. - M.: Research Institute of Culture, 1987.-P.31-33.

Knyazeva E.N., Kurdyumov S.P. Resonant stimulation of creativity. // Questions of Philosophy.-1994.-No.2-P.112.

Lombroso Ch. Genius and insanity. - St. Petersburg, 2004

Luk A.N. Problems of scientific creativity / Ser. Science studies abroad. - M., IPION AS USSR, 2004.

Nemirovsky V.G. Modern sociology and cultural traditions. // Sociological research. -1994. -No. 3.-S.-25.

Nikolai Berdyaev “The Meaning of Creativity” (the experience of human justification).

OlahA. Creative potential and personal changes // Social sciences abroad. R. J. Ser. Scientific studies. - 2004

Parandovsky Ya. Alchemy of the word. - M.: Pravda, 2003.

Perna I. Ya. Rhythms of life and creativity. - L., 2007.

Ponomarev Ya. A. Psychology of creativity // Trends in the development of psychological science. - M.: Nauka, 2005.

Development and diagnostics of abilities // Ed. V. N. Druzhinin and V. V. Shadrikov. - M.: Nauka, 2005.

Rudkevich L. A., Rybalko E. F. Age-related dynamics of self-realization of a creative personality // Psychological problems of self-realization of personality. - St. Petersburg: St. Petersburg State University Publishing House, 2007.

Salakhutdinov R. G. Organizational and pedagogical foundations of social and cultural creativity of children and youth. - Kazan, publishing house “GranDan”, 1999. - 462 p.

Salakhutdinov R. G. Social and cultural creativity as an effective means of shaping the cultural environment. - Execution, RIC “School”, 2002. - 216 p.

Spasibenko S. Creativity in the process of relationship between society and the individual. // Socio-political journal.-1996.-No.3-P.50-66. M.: Publishing house G.A.Leman and S.I.Sakharov, 1916 Horowitz F.D., Bayer O. Gifted and talented children: the state of the problem and directions of research // Social sciences abroad. R. Zh. Series of Scientific Studies, 2007 Elliott P. K. The prefrontal region of the cerebral cortex as an organizer of volitional actions and its role in releasing human creative potential // Social sciences abroad. R. J. Ser. Scientific studies. - 2004