Dialogue as a universal category of creativity

Dialogue as a universal category of creativity

The structure and essence of the dialogical interaction. In the most general form, creativity is a developing interaction, in the process of which mutual interaction, mutual change and mutual enrichment of the systems of the material world take place, new forms and qualities are born.
It is this universal structure that is manifested in the creative dialogue of the personality with the world, other people, with itself, in the interaction of different levels of intrapersonal structures. Thus, at the neurophysiological level, creativity is a process of polycyclic interaction of the cerebral hemispheres, distinguished by their qualitative specificity and originality. The rich sensual and imaginative material created by the right hemisphere is translated into a symbolic form, verbalized and realized by the left, in order to re-acquire clarity and metaphor in qualitatively new images, which, in turn, are transformed into new complex characters.
At the same time, creative processes in the subconscious can be viewed as a free, spontaneous interaction of ideas, images and models, as the replication of a myriad of copies and reflections that exist simultaneously, mixing and causing each other. At the same time, the most productive and useful combinations will be between the most opposite structures, as well as those that are completed in the direction of integrity, sifting through a sieve of truth, beauty and benefit criteria.
The increase in the number of cycles, coagulation and acceleration of the processes of interaction of the individual with real and ideal objects leads to the merging of the conscious and subconscious, rational and sensual, causes a state in which the mind structures and makes visual the subconscious, which in turn gives it flexibility, energy and transcendental courage.

The very interaction of a person with the world goes through a series of stages in its development, and as the personality develops, it acquires a certain qualitative specificity.
At the first stage, the individual appears as a passive object, which gives the world activity and power, obeys its laws and meekly relives its helplessness.
The second stage is characterized by a change in the interaction poles, in which an individual, hypertrophying his subjectivity, acquires the illusion of unlimited freedom and the right to treat the world as an object of transformation and manipulation, as a means of satisfying his needs.
Finally, at the third stage, a free, active subject realizes his potential and creative mission and at the same time recognizes the natural, independent of him, activity of the World. He consciously enters "into resonance with the Whole" and builds his transformational activity according to the essential laws of the universal processes.
At the same time, interaction with the world acquires a pronounced creative character and turns into a dialogue of equal, independent, unique, qualitatively peculiar structures. Creative interaction acquires its immanent integrity and symmetry and naturally includes both expressive and spontaneous self-affirmation, as well as absolute sacrifice, self-denial, selfless obedience to the laws of the World.
The dialogue is polycyclic in nature and consists in alternating
activation of each of the poles of interaction. The increase in speed, coagulation and automation of processes leads to a merger, interpenetration of interaction subjects, to the simultaneous existence of two plans of subjectivity, each of which, actualizing, includes the opposite. At the same time, the personality overcomes the self-closed cyclical nature of one-dimensional interaction and acquires the position of the “I-center”, which allows to unite the Subject and his World into a single, self-organizing Whole.
A creative person realizes and experiences his unity with the world and feels himself in everything and everything in himself. Realization of various connections and relations occurs in the process of creative dialogue with people, nature and cultural objects, which can be considered as subjects and "quasi-subjects" of dialogical interaction:
1. Inanimate and living objects of the surrounding world: plants, sea, mountains, clouds, animals. At the same time, a free, conscious subject, through the mechanism of personification, endows them with subjectivity, personifies and humanizes them, and gives them the ability to think, feel, and take initiative actions.
2. Other people, self-valued, equal and unique subjects with whom a person establishes a free, mutually enriching dialogue. Spiritual communication with them can be not only contact, but also timeless, transcultural in nature, carried out with the help of cultural works.
3. Various structures, roles and modifications of the inner “I” - “I am natural”, “I am acting” ... The most productive internal dialogue is carried out not only between separate parts of the “I”, but simultaneously with some “essential” I which takes the position of "out-of-reach" and conducts a dialogue with the dialogue, overcoming its isolation, cyclical nature and autism.
4. Models, images, symbols of the world, scientific concepts, artistic compositions and imaginary characters. This dialogue is realized in the process of scientific, artistic and inventive creativity.
5. Ideal, deity, absolute, conscience and eternity. This dialogue can be intimate and religious in nature and can take the form of prayer and confession. It can be a certain form of meditation, filling oneself with the Absolute, with Eternity and dissolving in them. This type of interaction can proceed as an internal dialogue with “I am perfect”, with one’s own conscience, as an assessment of oneself by the highest criteria, search for the meaning of life, awareness and experience of one’s mission and purpose.
The dialogue, which synthesizes two fundamental principles of the structure and development of the world - self-development and interconnection, permeates all evolutionary processes, including all internal and external manifestations of the psyche. At the same time, the dialogical is the very essence of a person, his psyche, thoughts, words, activities and communication. Thus, the process of thinking, is an internal dialogue with oneself, is formed not only in the process of internalization of external dialogical speech, but also in the appropriation of integral products of culture, which have an internal dialogical structure, as well as in actualization of their natural, innate dialogicity, which grows out of symmetry and the binary structure of the brain and the body.
As L. S. Vygotsky (1960) believed, any mental function is initially formed in the consciousness of an individual in the process of his dialogue with another person and is, in its structure, internally dialogical. In turn, V. S. Bibler (1975), G. Bush (1985) believed that the whole human world is internally dialogical, and the dialogue itself represents a way of truly human existence. According to a number of scholars, it is dialogue that is the “unit”, the independent part, the “monad” of the psyche, which contains and reproduces the whole in itself.
LA Radzikhovsky (1988) writes that dialogue, as a universal property of all mental processes, possesses certain structural characteristics of the whole: symmetry, balance, pregiveness. Dialogue is a new method of studying and seeing the psychological reality, which allows you to penetrate into its deep essence. The dialogical nature of the manifestations of the psyche lies in the fact that each mental process contains, as its integral part, a process different from itself, each motive contains the opposite symmetric motive, and each thought contains a statement contradicting it. Even the expression “two poles of one process” will be too weak to express the complexity of internal dialogism. It is better to talk about some "immanent opposites", internal complementarity, about the dialogical "overtone" (M.M. Bakhtin, 1979), ignoring of which sharply distorts the whole psychological reality.

Signs of dialogic communication. Dialogue represents the highest level of interaction of the individual with the world, other people and himself. Dialogue is always a "subject - subject" interaction, a necessary condition of which is the awareness of the other as a self-valuable, genuine and unique subject, as well as recognition of his right to free, independent activity.
M. M. Bakhtin (1972) wrote that the true author takes the position of "out-of-finding", conducts a dialogue with his characters, asserts the alien "I" not as an object, but as another subject, creates in his works "free people capable of becoming close with his creator, disagree with him and even rebel against him "[28, c.7].
In this regard, TA Florenskaya (1987) notes that if for A.A. Ukhtomsky, who was at the forefront of the science of “dialogics,” the main principle of personal communication is dominant in the interlocutor, in completely dissolving himself in another, then MM Bakhtin's basic principle of dialogue is expressed in the notion of “out-of-finding”, in some disinterested aesthetic position, characterized by the absence of pragmatic interest and emotional “tying” to another.
Defining dialogue as free interaction of unique subjects. M.S.Kagan (1988) gives the initial characteristics of the subject - participant of the dialogue:
- activity, constant, tireless orientation, the need for updating and transforming objects;
- Consciousness, manifested in goal setting, as well as the ability to self-awareness, self-esteem, self-control;
- freedom of activity, providing freedom of choice, selectivity of behavior and value relations;
- uniqueness - uniqueness, uniqueness and originality of the internal organization.
At the same time, the author believes that the essential features and conditions of the dialogue are:
- the uniqueness of each partner and their fundamental equality with each other;
- the difference and originality of their points of view;
- orientation of everyone to the understanding and active interpretation of his point of view by the partner;
- waiting for the answer and its anticipation in his own statement;
- mutual complementarity of the positions of participants in communication.
The dialogue itself is an evolving system and at its highest stage is saturated with creative elements and coincides with creativity. Creative dialogue requires a dialogic attitude towards oneself, which predetermines the selection of a system of opposing, dialectically interrelated criteria, whose structure is isomorphic to the original matrix of creative mechanisms:

Dialogue as a mechanism for the emergence of a new one. In the process of dialogic communication, the interaction of holistic personalities occurs, the interpenetration and mutual reinforcement of all their structures and components. The dialogue brings the situation, the circumstances and the participants of the interaction themselves to the ideal, leads to the acquisition of new meanings, the increment of knowledge and the deepening of understanding, the enrichment of the emotional sphere. Creative dialogue leads to the approval of the participants' subjectivity, the development of their divergent intelligence, sensitivity and ability to empathy, to the mastery of communication and creative skills and techniques. At the same time, the dialogue itself acts as a condition, cause and universal mechanism for the emergence of the new.

MM Bakhtin (1975) wrote that a new word is always born in a dialogue with another word. At the same time, it not only provokes the answer and is built in the direction of it, but is itself already determined by the not yet spoken and anticipated response word. Setting the subject of a dialogue on a partner "... there is a setting on a special horizon, a special world of the listener, it introduces completely new moments into his word: after all, this results in the interaction of different contexts, different points of view, different horizons, different, expressively accent systems, different social languages ​​"[29, p. 164].
The internal dialogue with itself, according to D. B. Bogoyavlenskaya (1987), underlies such an integral property of a creative person as an intellectual initiative and only with its help can one explain such characteristics of the creative process as “porism” - an unforeseen discovery that is not related to the requirements and tasks, as well as the non-deterministic from the outside search for new problems and the spontaneous formulation of creative tasks.
The emergence of a fundamentally new systemic quality that was not contained in the statements of individual subjects is the most essential productive characteristic of the dialogue. The generation of new things happens spontaneously, without special, directed efforts of the subjects - they only sincerely and freely express themselves and try to understand the other. At the same time, every thought, idea, image of the interlocutor falls into a completely new subjective world, a unique context that establishes new connections, highlights and exhausts new features of an object. It is the distinction, originality and uniqueness of the inner, subjective world of each interlocutor that is a necessary condition for the birth of the new.
According to M.S.Kagan (1988), the information circulating in the process of dialogue not only does not decrease, but increases, enriches and expands. In the process of interaction, ideas tend to highlight new facets and mutually complement each other, interconnect and interlock in holistic structures, creating a new quality. In this regard, MG Yaroshevsky (1978) wrote that true progress is associated not with the accumulation of Ideas, but with their collision, creative synthesis, generating fundamentally new.
In the works of V.S.Biblera (1975) it is shown that dialogue is the essential universal mechanism of creative thinking. In the process of analyzing the problem, thinking develops and becomes a dialogue between two interlocutors who have their own peculiar approaches and unique logic. Expanding the mechanism of creative thinking, the author argues that "in response to a replica of an internal interlocutor, I develop and radically transform, improve" my "argument, but the same happens with the logic of my" other I "(alter ego)” [ 3, p. 164].
At the same time, GMKuchinsky (1988) considers thinking as a special synthesis of subject-subject and object-object interaction. Internal dialogue and cognitive actions are, in the opinion of the author, two relatively independent components of thinking. In addition, the productivity of the thinking process depends on the coherence, coordination of the internal dialogue and the intellectual actions carried out in the internal plan.
The creative dialogue of the individual with the world, with other people and with himself has a complex multi-level structure, which is reflected and fixed in the creative position of the individual. It represents the subject pole, an internal aspect of a diverse relationship with reality, and contains the axiological, cognitive, emotional, and behavioral components.
In real interaction with the world, these components are manifested with the help of appropriate opposing and complementary mechanisms: idealization - problematization, decentration - simplization, identification - meditation, self-actualization - personification. Awareness, understanding and consolidation of these mechanisms, as well as the selection and synthesis of the most successful and effective ways of action, leads to the formation of an integrated system of techniques, methods and rules of creative dialogue with reality.
Creative interaction contains not only informative, but also a temporary structure, which includes a number of successive stages: creative perception and experience of objects of the external world, their analysis and reflection, as well as free manipulation of them. It is these two integral, interpenetrating structures that serve as the basis and content of a creative dialogue with the world, as a result of which new qualities are born, and its free, unique actors are established, developed and strengthened.

Literature:
1. Bakhtin M.M.Problems of poetics of Dostoevsky. - M .: Art. lit., 1972. - 470 s.
2. Bakhtin M.M. Questions of literature and aesthetics. - M .: Art. Lit., 1975. - 502 p.
3. Bibler V.S. Thinking as creativity.- M .: Politizdat, 1975. - 399 p.
4. Bush G. Dialogue and creativity. - Riga: Avota, 1985. - 318 p.
5. Kagan M.S. The world of communication. - M .: Politizdat, 1988 - 319 p.
6. Radzikhovsky LA Dialogue as a unit of analysis of consciousness. / / Knowledge and communication. - M .: Nauka, 1988. - 208 p. - P.24-34.