Letter to Ludwig van Beethoven. Beethoven's love letters

The creation of imaginary images involves the use of a number of techniques. One of them is combination, a combination of individual elements of various images of objects in new, more or less unusual combinations. It is used by artists, writers, scientists, inventors.

Combination is not a simple movement or rearrangement of elements, not a mechanical combination of sides various items, but the result of complex analytical-synthetic activity, during which the very elements from which it is built are significantly transformed. new image. As a result of combination, what is obtained is not just a new combination or combination of unchanged elements, but a new image in which the individual elements are not simply summed up, but transformed and generalized. Writers, artists, scientists, and inventors purposefully select elements and transform them, guided by a specific idea, design, and general composition.

A special case of combination is agglutination - the creation of new images based on “gluing”, combining individual ideas into a single whole. On its basis many were created fairy tale images, which are a combination of parts of the human body and some animal or bird - a mermaid, a hut on chicken legs, a sphinx, etc. Agglutination manifests itself not only in art, but also in technology. An example would be the creation of a trolleybus (bus and tram), snowmobile (plane and sleigh), etc.

Another technique of imagination is accentuation, emphasizing certain features. This is achieved on the basis of highlighting, abstracting and transforming individual features. At the same time, some of them are completely omitted, others are simplified, freed from a number of particulars and details. As a result, the entire image is transformed.

One type of emphasis is sharpening, emphasizing any features. This technique is often used in caricature. Another type of emphasis is a decrease or increase in all the features of the depicted character (hyperbole). An example of excessive exaggeration is the depiction in fairy tales and epics of giant heroes of unprecedented size and unprecedented strength. An example of a reduction in size is the fairytale “Tom Thumb”.

In scientific and technical creativity great importance have such techniques for creating imaginative images as schematization. When schematizing, individual ideas merge, differences are smoothed out, and similarities appear clearly. The synthesis of individual representations in the imagination can be carried out using typification. Typification is characterized by the identification of the essential, repeated in homogeneous facts and their embodiment in a specific image. This technique is widely used in fiction.

Types of imagination

Various criteria can be used to classify imagination. The difference in types of imagination may be due to how conscious and active a person’s attitude is to the process of creating new images. According to this criterion, passive and active imagination are distinguished.

Passive imagination occurs in a person as if by itself, without a predetermined goal. It can manifest itself in dreams, reveries and some illusions.

Active imagination, on the contrary, is purposeful and is necessarily accompanied by volitional efforts. It manifests itself in the form of a recreative (reproductive, reproducing) and creative imagination, as well as dreams.

The division of imagination into creative and recreative is based on the criterion of novelty and “independence” of the created images.

Recreating is a type of imagination during which a person develops new images based on descriptions, diagrams, drawings, mental and material models.

Creative is a type of imagination in which a person independently creates new images and ideas. When creating such images, the individual shows maximum independence.

Any creative process consists of the following main stages:

1. Statement of the problem (creative concept), i.e. understanding and defining what a person wants to achieve as a result of his creativity.

2. Work on the implementation of the task. This is the most difficult “drafting” stage. At this stage, everything that has been done previously in this area is studied. The plan is being refined and preliminary attempts at a practical solution are being made.

3. Solving the problem, i.e. practical implementation in accordance with the creative concept.

The creative process often lasts years, and sometimes decades.

A special form of creative imagination is a dream. Unlike its other types, a dream is the creation of images of the desired future.

Types of imagination can be distinguished by the relationship between images and reality. Here we distinguish between realistic and fantastic imagination.

Realistic imagination most fully and deeply reflects reality, anticipates the development of events and embodies its main functional capabilities to the maximum extent. Typical products of this type of imagination are works of art realistic art.

Fantastic imagination significantly “flies away” from reality, creates implausible images, the elements of which are incompatible in life. Vivid examples Such imagination are mythical images.

Fantastic, unrealistic imagination also includes those whose images are poorly connected with life. This includes absurd “fantasies”, empty dreams, daydreams, “manilovism”.

One person's imagination differs from another's in a number of ways. Among them, the following should be noted:

Strength, which is characterized by the degree of brightness of emerging images;

Breadth, determined by the number of images that a person is able to create;

Criticality, which is determined by the extent to which fantastic images man-made, come closer to reality.

Literature

1. Introduction to Psychology / Ed. A.V. Petrovsky. M., 1995.

2. Vygotsky L.S. Collection cit.: In 6 vols. M., 1982. T. 2. P. 436-454.

3. Gamezo M.V., Domashenko I.A. Atlas of psychology. M., 1998.

4. Korshunova L.S., Pruzhinin B.N. Imagination and rationality. M., 1989. P. 18-39; 83-97; 113-138.

5. Neisser U. Cognition and reality. M., 1981. S. 141-165.

6. Nemov R.S. Psychology: In 2 books. M., 1994. Book. 1.

7. Rozet I.M. Psychology of fantasy. Experimental and theoretical study of the internal laws of productive mental activity. Minsk, 1977.

8. Rubinshtein S.L. Fundamentals of general psychology: In 2 vols. M., 1989. T. 1. P. 344-360.

9. Nikiforova O.I. Research on the psychology of artistic creativity. M., 1972. P. 4-50.

10. Poluyanov Yu.A. Imagination and ability. M., 1982.

Task plan for independent work

1. Conduct a self-assessment by defining the concepts: agglutination, imagination, dream, schematization, creativity, typification.

2. Prepare for an oral presentation at a seminar on the topic “Imagination and its role in cognition.” Use recommended literature.

3. Make a diagram of the types of imagination. Describe each type and show its significance in practical human activity.

4. Determine the characteristics of the re-creative imagination of students in your class. For this purpose, read 2-3 passages from literary works. Then offer to analyze the features of the given texts and answer the questions: does the text influence the nature of the reconstruction of the content? If yes, what is the reason for this?

Invite subjects to look at the drawings various items and then sketch:

Then they must answer the questions: “What is shown on the plan?”, “What did you depict in the drawing?”, “Is there enough source material to complete it?”, “Are all the details of the plan taken into account in the drawing?”, “What kind of imagination manifested itself in in this case?»

The work done will help ensure that the recreated imagination can be developed on the basis of diagrams and drawings.

5. Identify experimentally some features of creative imagination.

Subjects listen to the beginning of the story, then they are asked to come up with a continuation and ending of the story. The time given is 10 minutes.

The following indicators are used as evaluation criteria: completeness of the story, brightness and originality of images, unusual plot twist, surprise of the ending.

The subjects are asked to use the words “key”, “hat”, “boat”, “side”, “office”, “road”, “rain”, to create a logically connected story. Conduct the assessment using the criteria specified in the previous task.

Offer to draw a circle with a diameter of 2 cm in a notebook, and then add as many strokes as you like to it and get a meaningful, finished drawing of the object:

Next, the same circle is drawn, but a dash is placed on the right and left. This will be the source material. You need to add as many other strokes as you like to it and get an image of the object. After completing the entire task, it is proposed to compare which option solves the problem easier and why. This task will reveal the features of creative imagination.

6. Determine the features of your imagination using the simple “Draw a House” technique.

The subjects are given the instruction: “Draw what immediately appears in your imagination when you mention the word “house.” The nature of the drawing will allow us to draw a conclusion about some features cognitive activity, including imagination. Compare the pictures with the given standards.

City house

We are talking about a multi-story building. This drawing reveals the characteristics of a dry, withdrawn person who tends to focus on his own problems, which he does not share.

Small low house

A person who draws a house with a very low roof most likely feels tired, tired, likes to remember the past, although he usually does not find anything pleasant in it.

Lock

Such a drawing reveals something childish in character, frivolous, frivolous. It means the exaggerated imagination of a person who usually does not have time to cope with his responsibilities.

Spacious rural house

It means the need to expand your living space. If the person painting such a house is childless and lonely, then perhaps this expresses his need to start a family and raise children. If the house is surrounded by an iron fence, then this most likely indicates a closed character. If there is a “hedge” around the house, then this means the opposite - trust in others. The lower the fence (fence), the higher this person’s tendency to communicate. A huge window most likely speaks of openness, cordiality, and friendliness. One or more small windows, windows with bars, shutters - an indicator of secrecy, the presence of complexes, greed, and the inability to either give or accept anything from others.

Doors

If they are located in the middle of the facade, this indicates friendliness and hospitality. And the porch is about even greater generosity, a sense of self-confidence.

An open door means sociability. Closed - closed. If the door is located on the side, this is a sign of insufficient sociability. Such a person does not make contact so easily. If the door covers almost the entire facade, this indicates frivolity, unpredictability in actions, but also generosity, sometimes even excessive.

Pipes

The absence of a pipe in the picture is a sign of insensitivity. A chimney from which no smoke comes out means the same thing, but this character trait is undoubtedly caused by a number of disappointments in life. A pipe with smoke is a sign of generosity, and if, in addition, even bricks are drawn on the pipe, some small ones were flying, then this indicates optimism in life.

Draw conclusions from the work done.

7. Solve the following psychological problems. Determine what techniques (agglutination, hyperbolization, sharpening, typification) are used to create images of creative imagination. By what signs can this be established?

The myths and legends of the ancients describe various fantastic creatures– centaurs (creatures with the head of a man and the body of a horse), sphinxes (creatures with the head of a man and the body of a lion), dragons, etc.

What techniques for creating an imaginative image were used by inventors when designing a snowmobile, an amphibious tank, an airship, an excavator, a trolleybus and other mechanisms?

"...old old man

Thin as winter hares,

All white and white hat,

Tall, with a band

From red cloth,

Nose beak like a hawk's

Mustache is gray and long

AND - different eyes:

One, healthy - glows,

And the left one is cloudy, cloudy,

Like a tin penny!

(N.A. Nekrasov. “Who Lives Well in Rus'”)

Image-information modeling of reality based on the recombination of memory images. Thanks to imagination, a person foresees the future and regulates his behavior, creatively transforming reality.

The specificity of this form of mental process is that it is only for humans.

Thanks to imagination, a person creates, intelligently plans and manages his activities.

The difference - anticipatory reflection in the process of imagination occurs in the form of ideas, and in thinking occurs by operating with concepts.

ensures human creative activity. Techniques for such activities have evolved over the centuries. Techniques for creating new images of the imagination:

Agglutination is the “gluing together” of different Everyday life incompatible parts of qualities;

Hyperbolization - increasing or decreasing an object or individual parts;

Schematization - differences are smoothed out, and similarities appear clearly;

Typification - highlighting the essential, repeated in homogeneous images;

Sharpening is emphasizing any individual characteristics.

Functions of the imagination.

In a person's life there are a number of specific functions . The first of these is to represent reality in images and be able to use them when solving problems. This function of imagination is connected with m and is organically included in it. The second function of imagination is in the regulation of emotional states. With the help of his imagination, a person is able to at least partially satisfy many needs and relieve the tension generated by them. This vital function is especially emphasized and developed in psychoanalysis. The third function of imagination is related to its participation in voluntary regulation cognitive processes and human conditions, in particular perception, attention, memory, speech, emotions. With the help of skillfully evoked images, a person can draw attention to the necessary events. Through images, he gets the opportunity to control m, memories, statements. The fourth function of imagination is formation of an internal action plan - perform them in your mind, manipulating images. The fifth function is planning and programming of activities, drawing up such programs, assessing their correctness, and the implementation process.

With the help of imagination, we can control many psychophysiological states of the body, set it up for upcoming activities. There are known facts indicating that with the help of imagination, purely by will, a person can influence organic processes: change the rhythm of breathing, pulse rate, blood pressure, body temperature. These facts underlie auto-training, widely used for self-regulation.

All people have different abilities for creativity. Their formation is determined a large number various kinds of aspects. These include congenital inclinations, human activity, characteristics environment, conditions of training and education that influence the development of a person’s characteristics of mental processes and personality traits that contribute to creative achievements.

Basic techniques of imagination.

Imagination, by its nature, is active. It is stimulated by vital needs and motives and is carried out with the help of special mental actions called image-creating techniques. These include: agglutination, analogy, emphasis, typification, addition and displacement.

Agglutination (combination) is a technique for creating a new image by subjectively combining elements or parts of some original objects. Many fairy-tale images have been created through agglutination (mermaid, hut on chicken legs, centaur, etc.).

Analogy is the process of creating something new by similarity to the known. So, by analogy with birds, man invented flying devices, by analogy with a dolphin - the frame of a submarine, etc.

Hyperbolization – is expressed in a subjective exaggeration (understatement) of the size of an object or the number of parts and elements. An example is the image of Gulliver, a multi-headed dragon, etc.

Emphasis is the subjective highlighting and emphasizing of some qualities characteristic of an object. For example, if the prototype hero of a work of fiction has well-defined individual character traits, then the writer emphasizes them even more.

Typification is a technique for generalizing a set of related objects in order to highlight common, repeating, essential features in them and embodying them in a new image. This technique is widely used in artistic creativity, where images are created that reflect the characteristic features of a certain group of people (social, professional, ethnic).

Addition - consists in the fact that the object is attributed (given) qualities or functions that are not inherent to it (walking boots, flying carpet).

Displacement is the subjective placement of an object in new situations in which it has never been, cannot be at all, or in which the subject has never seen it.

All the techniques of imagination work like one system. Therefore, when creating one image, several of them can be used. In most cases, the techniques for creating images are poorly understood by the subject.
The concept of representation, mechanisms for the emergence of representations

Representation is the mental process of reflecting objects or phenomena that are not currently perceived, but are recreated on the basis of our previous experience.

The basis of representation is the perception of objects that took place in the past. Several types of representations can be distinguished. Firstly, these are memory representations, that is, representations that arose on the basis of our direct perception in the past of any object or phenomenon. Secondly, these are ideas of the imagination. At first glance, this type of representation does not correspond to the definition of the concept of “representation”, because in the imagination we display something that we have never seen, but this is only at first glance. Representations of the imagination are formed on the basis of information received in past perceptions and its more or less creative processing. The richer the past experience, the brighter and more complete the corresponding idea can be.

Ideas do not arise on their own, but as a result of our practical activity. Moreover, ideas are of great importance not only for the processes of memory or imagination, but they are extremely important for all mental processes that ensure human cognitive activity. The processes of perception, thinking, and writing are always associated with ideas, as well as memory, which stores information and thanks to which ideas are formed.

Main characteristics of views

Representations have their own characteristics. First of all, representations are characterized by clarity. Representations are sensory-visual images of reality, and this is their closeness to images of perception. But perceptual images are a reflection of those objects of the material world that are perceived in this moment, while representations are reproduced and processed images of objects that were perceived in the past.

The next characteristic of representations is fragmentation. The representations are full of gaps, some parts and features are presented vividly, others are very vague, and still others are completely absent. For example, when we imagine someone's face, we clearly and distinctly reproduce only individual features, those on which, as a rule, we fixed our attention.

An equally significant characteristic of ideas is their instability and impermanence. Thus, any evoked image, be it an object or someone’s image, will disappear from the field of your consciousness, no matter how hard you try to hold it. And you will have to make another effort to evoke it again. In addition, representations are very fluid and changeable. First one and then another detail of the reproduced image comes to the foreground.

It should be noted that ideas are not just visual images of reality, but are always, to a certain extent, generalized images. This is their proximity to concepts. Generalization occurs not only in those representations that relate to a whole group of similar objects (the idea of ​​a chair in general, the idea of ​​a cat in general, etc.), but also in the representations of specific objects. We see every object familiar to us more than once, and each time we form some new image of this object, but when we evoke in our consciousness an idea of ​​this object, the image that arises is always of a generalized nature.

Our ideas are always the result of a generalization of individual images of perception. The degree of generalization contained in a presentation may vary. Representations characterized by a high degree of generalization are called general representations.

Classification and types of representations

Since ideas are based on past perceptual experience, the main classification of ideas is based on the classification of types of sensation and perception. Therefore, it is customary to distinguish the following types of representations: visual, auditory, motor (kinesthetic), tactile, olfactory, gustatory, temperature and organic.

Classification of ideas can be carried out according to the following criteria: 1) according to their content; from this point of view, we can talk about mathematical, geographical, technical, musical, etc. ideas; 2) by the degree of generalization; from this point of view we can talk about particular and general representations. In addition, the classification of ideas can be carried out based on the degree of manifestation of volitional efforts.

Most of the ideas we have are related to visual perception. A characteristic feature of visual representations is that in some cases they are extremely specific and convey all the visible qualities of objects: color, shape, volume.

In the field of auditory representations, speech and musical representations are of utmost importance. In turn, speech representations can also be divided into several subtypes: phonetic representations and timbre-intonation speech representations. The essence of musical representations mainly lies in the idea of ​​the relationship between sounds in height and duration, since musical melody is determined precisely by pitch and rhythmic relationships.

Another class of representations is motor representations. By the nature of their occurrence, they differ from visual and auditory ones, since they are never a simple reproduction of past sensations, but are always associated with current sensations. Every time we imagine the movement of any part of our body, a weak contraction of the corresponding muscles occurs. It has been experimentally proven that whenever we motorically imagine pronouncing a word, instruments record a contraction in the muscles of the tongue, lips, larynx, etc. Consequently, without motor ideas we would hardly be able to use speech and communicate with each other it would be impossible.

It is necessary to dwell on one more, very important, type of representation - spatial representations. The term "spatial representations" is applied to those cases in which the spatial form and placement of objects are clearly represented, but the objects themselves may be represented very vaguely. As a rule, these representations are so schematic and colorless that at first glance the term “visual image” does not apply to them. However, they still remain images - images of space, since they convey one side of reality - the spatial arrangement of things - with complete clarity. Spatial representations are mainly visuomotor representations, and sometimes the visual component comes to the fore, sometimes the motor component.

In addition, all representations differ in the degree of generalization. Representations are usually divided into individual and general. It should be noted that one of the main differences between ideas and images of perception is that images of perception are always only single, that is, they contain information only about a specific object, and ideas are very often generalized. Unit representations are representations based on the observation of a single object. General representations are representations that generally reflect the properties of a number of similar objects.

It should also be noted that all ideas differ in the degree of manifestation of volitional efforts. In this case, it is customary to distinguish between voluntary and involuntary representations. Involuntary ideas are ideas that arise spontaneously, without activating the will and memory of a person. Arbitrary ideas are ideas that arise in a person as a result of volitional effort, in the interests of a set goal.

View Operations

All people differ from each other in the role that representations of one kind or another play in their lives. The existence of differences between people in the quality of ideas is reflected in the doctrine of “types of ideas.” In accordance with this theory, all people can be divided depending on the predominant type of representations into four groups: persons with a predominance of visual, auditory and motor representations, as well as persons with representations of a mixed type. The last group includes people who use representations of any kind to approximately the same extent.

A person with a predominance of visual type ideas, remembering a text, imagines the page of the book where this text is printed, as if reading it mentally.

A person with a predominance of auditory type ideas, remembering a text, seems to hear spoken words. They also remember numbers in the form of an auditory image.

A person with a predominance of motor-type ideas, remembering a text or trying to remember some numbers, pronounces them to himself.

It should be noted that people with pronounced types of ideas are extremely rare. Most people, to one degree or another, have ideas of all these types, and it can be quite difficult to determine which of them play the leading role in a given person. Moreover, individual differences in this case are expressed not only in the predominance of ideas of a certain type, but also in the characteristics of ideas.

The most important condition for the development of ideas is the presence of sufficiently rich perceptual material. The essence of this statement is that our ideas largely depend on the usual way of perception, and this must be taken into account when solving specific problems.

The most important stage in the development of ideas is the transition from their involuntary emergence to the ability to voluntarily evoke the necessary ideas. It should be borne in mind that every representation contains an element of generalization, and the development of representations follows the path of increasing the element of generalization in them.

Increasing the generalizing value of ideas can go in two directions. One way is the way of schematization. As a result of schematization, the representation gradually loses a number of private individual characteristics and details, approaching the scheme. Another way is the way of developing typical images. In this case, ideas, without losing their individuality, on the contrary, become more and more specific and visual and reflect a whole group of objects and phenomena.

Theoretical part

The complex and often changing circumstances of the life of any person in our society in Lately require people to be able to quickly respond to changing conditions. Only capable of this creative person, because it is characterized by independence of thinking, a conscious approach to activity and the desire to find effective method achieving the goal. Therefore, it is so important to begin to develop a child’s creative abilities from preschool age.

Today we can say with confidence that every normal child is born with a predisposition to development creativity. But creative people Only those children grow up whose upbringing allowed them to begin developing these abilities as early as possible.

This task is set by our teachers when conducting various types of classes. Since 2004, the subject “Development of Creativity” has been introduced. Since then, our department has been conducting classes on the “Development of Creativity” program with children aged 5-7 years. When planning this work with children within the framework of this subject, we use various technologies: TRIZ, RTV, the method of J. Guilford and J. Renzulli

The purpose of this program is: the formation of a creatively developed and proactive, liberated person, with high level development of cognitive abilities.

We understand that the development of creative abilities is possible only with the simultaneous activation of the processes of thinking and imagination. Imagination at this age expands the child’s capabilities in interaction with external environment, contributes to its development, and serves, together with thinking, as a means of understanding reality. From the age of five, a sensitive period for the development of imagination begins. Developed imagination helps to free yourself from the inertia of thinking.

In our classes, children develop the ability to imagine something that does not exist in reality, to transform memory representations that ultimately ensure the creation of something new, to reflect reality in new unusual combinations and connections: to learn to look at objects with different positions, to see new in the old, familiar, habitual.

The imagination of a preschool child changes greatly as an older child preschool age and a big leap in its development is provided by the game. We bring to your attention several games that we use to develop creative imagination during our classes.

Practical part

Games "Tale from pictures"

Goals:

Development of imagination and verbal originality;

Developing the ability to invent stories based on a specific sequence of drawings

Main task: Look at the available drawings. Offer to come up with stories.

1. Conducting a seminar with participantsgames "Magic door"

Goals:

Formation of planning skills;

Developing the ability to develop the selected topic in detail.

Main task:

Offer to draw and, if possible, describe a fairytale magical land, invented independently. Provide an opportunity to exchange your ideas and other useful information about magical worlds.

Conducting a seminar with participantsgames « Come up with an animal"

Goals:

Development of imagination and imaginative thinking;

Development of the ability to create unusual images through the combination of various parts

Materials and tools :

Scissors, glue, paper

Main task:

Invite children to cut out various parts and combine them into clean slate paper as they see fit. Children should stick the combination they like on this sheet.

You can first draw something on it (for example, a torso or a head). It is also possible to finish drawing anything necessary after gluing.

Invite children to color their animals, give them names and tell stories about them.

Discuss the resulting animals with the whole group of children.

Final part

The teacher demonstrates children's drawings as products of their creativity

The creation of images of new objects by a person is determined by the needs of her life and activity. Depending on the tasks facing it, some remnants of previous impressions are activated and new combinations of associated connections are formed. This process becomes of varying complexity depending on the purpose, content and previous experience of the person.

The most elementary form of synthesizing new images is agglutination (from the Latin aglutinare - “gluing together”). This is the creation of an image by combining qualities, properties or parts of various objects. Such, for example, are the fairy-tale images of a mermaid - half-woman, half-fish; centaur - half-headed, half-horse; in technical creativity it is a trolleybus - a combination of the features of a tram and a car, an amphibious tank, combining the features of a tank and a boat, and the like.

The technique for creating new images is analogy.

The essence of the analogy technique is that again the image that is being built is similar to a really existing object, but in it it is fundamentally projected new model phenomenon or fact.

Based on the principle of analogy, a new branch of engineering arose - bionics. Bionics highlights certain properties of living organisms that become useful when constructing new technical systems. This is how many different devices were created - a locator, an “electronic eye” and others.

New images can be created using stress. This technique consists of deliberately tightening certain characteristics in an object, which turn out to be dominant against the background of others. Drawing a friendly cartoon or caricature, the artist finds something unique in a person’s character or appearance, unique to her, and emphasizes this with artistic means.

The creation of new images can be achieved by exaggerating (or diminishing) all the characteristics of an object. This technique is widely used in fairy tales, folk art when heroes are endowed supernatural power(Nikita Kozhemyaka, Kotigoroshko) and perform feats.

The most difficult way to form images of the imagination is to create typical images. This method requires a long creative work. The artist creates preliminary sketches, the writer creates versions of the work. Thus, while painting the picture “The Appearance of Christ to the People,” the artist Ivanov made about 200 sketches.

Imagination in artistic creativity can be illustrated by the statement of K. Paustovsky: “Every minute, every casual word and glance, every deep or humorous thought, every imperceptible movement human heart, just like the flying fluff of a poplar or the fire of a star in night water - all these are crumbs of golden dust. We, writers, have been mining them for decades, these millions of crumbs, collecting them unnoticed by ourselves, turning them into an alloy, and from this alloy we forge our own." Golden rose"- a story, novel or poem."

Creative process associated with the emergence of many associations, their actualization is subordinated to the goals, needs and motives that dominate acts of creativity.

Has a great influence on the creation of imaginative images Practical activities. While the created image exists only “in the head,” it is not always completely clear. By translating this image into a drawing or model, a person checks the reality of its existence.

The key to creating imaginary images is the interaction of two signaling systems. The relationship between the sensory and the linguistic, the image and the word takes on a different character in different types imagination, depending on the specific content of the activity that includes the creation of images.

Varieties of Imagination

The activity of the imagination can be characterized from the point of view of the participation of special volitional regulation in this process, depending on the nature of human activity and the content of the images it creates. Depending on the participation of the will in the work of imagination, it is divided into involuntary and voluntary.

Involuntary is such a representation when the creation of new images is directed with the special purpose of representing certain objects or events. The need for involuntary creation of images is constantly updated various types activities in which the individual is involved.

In the process of communication, interlocutors imagine situations, events about which we're talking about. Reading fiction or historical literature, a person involuntarily observes real pictures, which her imagination generates under the influence of what she read. Involuntary ideas that arise are closely related to a person’s feelings. Feeling is a powerful generator bright images imagination in cases where she is alarmed due to the uncertainty of expected events or, conversely, experiences an emotional upsurge through participation in special events that are of vital importance to her.

Feeling fear and anxiety for people close to her, a person imagines images of dangerous situations, and when preparing for a pleasant event, she imagines an atmosphere of goodwill and respect from colleagues present.

An example of the spontaneous emergence of imaginary images is dreams. In a state of sleep, when there is no conscious control over mental activity, the remnants of various impressions stored in the brain are easily disinhibited and can be combined unnaturally and indefinitely.

The process of imagination can last arbitrarily when it is directed with the special purpose of creating an image of a certain object, a possible situation, or imagining or foreseeing a scenario for the development of events.

The involvement of voluntary imagination in the process of cognition is due to the need for conscious regulation of image construction in accordance with the task and the nature of the activity being performed. The voluntary creation of images takes place mainly in creative activity person.

Depending on the nature of a person’s activity, his imagination is divided into creative and reproductive.

Imagination, which accompanies creative activity and helps a person create new ones original images, is called creative.

Imagination, which accompanies the process of assimilation of what has already been created and described by other people, is called reproduced or reproductive.

So, in a designer-inventor who creates a new machine, the imagination is creative, but in an engineer who, according to an oral description or drawings, creates an image of this machine, the imagination is reproductive.

Creative imagination is activated where a person finds something new - new ways of activity, creates new, original, material and spiritual works of value to society.

Products of creative imagination, their richness and social significance directly depend on knowledge and life experience personality, her attitude to activity, her social position, and the like. An important role for the creative imagination is played by language, which is a means of understanding the creative concept and a tool of analytical and synthetic activity.

Reproductive imagination is the process of a person creating images of new things based on their oral description or graphic image.

The need to reproduce images of reality is constant and relevant in the life and activity of man as a conscious social being. The role of the reproductive imagination for human communication is very important, which largely determined its development. The linguistic description of phenomena always requires a person to create appropriate images.

Reproductive imagination is needed when reading fiction, working with textbooks on geography, biology, anatomy and the like. Images of objects are also formed on the basis of their graphic description, for example, in engineering, when using diagrams, maps. Creative imagination and reproductive imagination are closely related, constantly interacting and transforming into each other. This connection is manifested in the fact that creative imagination is always based on the reproductive imagination, including its elements. On the other hand, complex forms of reproductive imagination contain elements of creative imagination. For example, in the work of an actor, the embodiment stage image is the result of the activity of the creative and at the same time reproductive imagination.

Depending on the content of the activity, imagination is divided into technical, scientific, artistic and other varieties, determined by the nature of human work.

The artistic imagination has predominantly sensory (visual, auditory, tactile and other) images - very bright and detailed. Thus, I. Repin, painting the picture “The Cossacks write a letter to the Turkish Sultan,” wrote: “Their humor and noise make my head spin.” Flaubert said that he felt the sharp taste of arsenic in his mouth when he described the scene of Madame Bovary's suicide. Thanks to the brightness of sensual images, the artist and writer seem to directly perceive what is depicted in their works.

Technical imagination is characterized by the creation of images of spatial relationships in the form geometric shapes and constructions, their easy dissociation and combination into new combinations, imaginary transfer of them into different situations. Images of the technical imagination are often combined in drawings and diagrams, on the basis of which new machines and new objects are then created.

Scientific imagination finds its expression during the creation of hypotheses, conducting experiments, generalizations to create concepts. Fantasy plays important role when planning scientific research, constructing an experimental situation, predicting the course of the experiment. When building scientific system imagination is needed to complement the missing links in the chain of facts that have not yet been determined.

Fantasy is of great importance for the fruitful creative activity of a scientist. Without imagination, his work can turn into a heap scientific facts, accumulation of one’s own and others’ thoughts, rather than on real progress in new inventions, ideas, and the creation of something fundamentally new in science.

A special form of imagination is a dream.

A dream is the process of a person creating images of the desired future. Dream - necessary condition incarnations creative ideas, when the images of the imagination cannot be realized immediately for objective or subjective reasons. Under such circumstances, the dream becomes a real motivation, a motive for activity, thanks to which it becomes possible to complete the work begun. Without a dream, D.I. Pisarev noted, it would be impossible to understand what motivating force makes a person begin and complete extensive and tedious work in the field of art, science and practical life.

A dream is an element of scientific foresight, forecasting and activity planning. This function is convincingly manifested in artistic, creative activity, government, and social development. A striking illustration of this is the works of Jules Verne, in which he brilliantly foresaw the works of future technical thought - a submarine, a helicopter.

Dreams can be real, valid and unreal, fruitless. The effectiveness of a dream requires a condition for the embodiment of a person’s creative plans aimed at a real transformation of reality. Such dreams in in a certain sense is driving force actions and deeds of a person, give her more purposefulness in life, help her fight difficulties, and resist adverse influences.

Dreams can be empty, fruitless, “Manila”. Then they disorient a person, deprive him of a vision of real life prospects, push him onto the path of illusory satisfaction of his mental preferences, and make him unable to withstand the adversities of real life.

Only an active, creative dream has a positive impact on a person’s life; it enriches a person’s life, makes it brighter and more interesting.