Socio-psychological mechanisms of creative interaction with the world

Modern studies of human creative activity gradually dispel the mystical fog around this problem, deprive the creative talent and genius of the aura of mystery and exclusivity. At the same time, the opinion is increasingly being asserted that universal creative abilities are inherent in every person and that everyone has the right and at the same time is “doomed” to creativity.
The most important task of modern psychology becomes the search for ways and methods of uncovering the secret-depth layers of a human being, activating its higher “I”, bringing people closer to its true essence. At the same time, the main problem - how to recognize a person, is naturally transformed into a problem - how to make a person happy, how to fill his life with meaning and saturate with higher values, how to help him go beyond himself and comprehend new horizons.
In various cultures, this problem has traditionally been solved with the help of meditative practice, the main purpose of which was
restoration of the lost connection with the Absolute, connection and merging with it and, thereby, awakening of your true, higher “I”.
At the same time, the goal of man is not only to know the Absolute and to dissolve his “I” in it, but also to contain it in oneself, in the appropriation of its attributes and properties of the creator. Actually the ability to be creative is the true essence of a person, which manifests itself in every individual in the form of a core of universal creative abilities, his ideal “I”, which gives the right and at the same time imparts to creativity.
The complexity, fundamental and multidimensional aspect of the phenomenon
creativity leads to the existence of its many definitions, which can be grouped according to such essential features as effectiveness, processuality and subjectivity.
At the same time, creativity is accordingly considered:
- As a productive activity aimed at creating fundamentally new and original products, in which the criteria of truth, beauty and benefit are harmoniously embodied;
- As a process of posing and solving problems;
- As self-actualization, free expression and self-assertion of their true self.
At the same time, creativity is viewed as a fundamental philosophical category, as an interaction and a universal form of development. “All this,” writes Ya.A. Ponomariov, “promotes the assertion of a new understanding of creativity as an evolving interaction” [6, p.10].
According to A.V. Anisimov [2], creativity is a complex recursive system, manifested in the creation of an unlimited number of copies, which, containing a whole with a folded form, interact with each other, obeying certain basic principles.

Thus, creativity in its most general form can be understood as the interaction of a person with the world, which turns into a dialogue of independent, equal, unique and qualitatively original structures. At the same time, a free, active subject realizes the inexorable and natural universality of the processes of the Universe, reveals its activity and subjectivity. The process of creativity immanently contains both the hypertrophied and expressive statements of his “I”, which is manifested in absolute free will, ignoring causality and time, and self-denial, merging with the world, unconditional obedience to its laws.
At the same time, the dialogue has a polycyclic character and represents the alternating activation of each of the interaction poles. Acceleration, 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, actualized, includes the opposite. So the creative person freely accommodates the extra-personal, cosmic, allows him to spontaneously manifest, consolidate, transform into the inner and intimate-personal.
The recursive structure of the creative dialogue has an invariant character and is manifested at all levels of complexity. At the same time, creativity is viewed as an interaction between the logical and the intuitive [6], and as a dialogue between the cerebral hemispheres [7], or as an interaction between consciousness and superconsciousness.
At the same time, the creative processes themselves in the subconscious are considered as free and spontaneous interaction of ideas, images and models, as a replication of a large number of copies, which exist simultaneously, mix up and cause each other. At the same time, the most productive and useful are combinations between opposing structures, as well as those that are completed in the direction of integrity, sifting through a sieve of truth, benefit and beauty criteria.
For the disclosure of the essence of creative activity, as well as for the creation of effective methods of its stimulation, the definition of its basic mechanisms is especially important. It is their disclosure and consolidation that opens up the possibility of developing an integrated system of rules, techniques and methods, the use of which will allow filling all kinds of activities with creative elements.
All modern concepts of creativity are conventionally divided into “neo-Ionian”, emphasizing the subconscious, intuitivistic processes, and “neo-Apollo”, the followers of which advocate rational principles of creative activity.
Fans of the first point of view pay special attention to the process of imagination, which is based on a number of simple mechanisms: agglutination, analogy, typification, transformation, hyperbolization and emphasis.
In addition, in irrationalistic concepts, great importance is attached to intuition which, on the one hand, is understood as an instant, immediate vision of the truth and a visual comprehension of the essence of things, and on the other, as penetration, penetration into the depth of the subject, merging with its unique essence. Intuition is traditionally associated with the activity of the subconscious, with the hemispheric processes of the brain, the main mechanisms of functioning of which are: condensation - the fusion of excellent ideas into one whole; shift - the shift of emphasis from the main to the minor, symbolic transformation - the replacement of complex content with a symbol.
Within the framework of the rationalistic concept, creativity is understood as the process of implementing certain heuristic plans, as the conscious application of techniques, rules and norms of creative activity. The subject of scientific analysis is the activity itself, its most effective and successful operations, which are fixed in the form of certain methods and techniques.
In the modern literature there are such psychological mechanisms of creative activity as:
• comparing - regulation of the creative process through feedback from the standard;
• anaxiomatization - depreciation of information, values, methods and means of solutions, hyperaxiomatization - an overestimation of information of methods and results (Roset IM, 1977);
• reflection - comprehension and organization of the activity and content of individual consciousness (Semenov I.N., 1976);
• "analysis through synthesis" - the identification of new properties of the object through the establishment of its relationships with other objects (Rubinstein S.L., 1958);
• empathy - identifying oneself with an object, actively living in it, experiencing its states and feelings (Basin E.Ya., 1987);
• creation of associations, metaphors, symbols.
In addition, as the universal mechanisms of creativity are considered: the interaction of logical and intuitive levels of knowledge of the world (Ponomarev Ya.A., 1976), the resolution of contradictions, the generation of hypotheses and their verification (Shumilin A.T., 1989).
Modern methods of stimulating the creative potential of an individual are based both on the fixation and generalization of the most effective and successful operations, and on the cognition, release and activation of the subconscious mechanisms.
At the same time, the left hemisphere not only teaches the right, ordering and structuring its energy, but also learns from it itself, cognizing and realizing the most fundamental laws of the structure and development of the world. In this regard, the pyramid of methods and rules, constructed by the inductive method, should be naturally complemented by an inverted pyramid created by deductive reasoning. At the same time, when building this pyramid, it is necessary to rely on a number of simple, clear and universal principles of the structure and development of the world.

The very interaction of a person with the world has a complex, multi-stage character, reflecting some invariant, three-component structure that “permeates” all integral objects. In turn, this universal, “end-to-end” structure determines the structure of the creative attitude of the personality, which includes axiological, cognitive, emotional and behavioral components, and the first appears not as a separate, not a level of structure, but its basis, system-forming factor, center of organization.
These components are manifested and deployed through appropriate socio-psychological mechanisms of creativity: idealization, decentralization, identification and self-actualization. In addition, each of them is implemented with the help of appropriate psychological mechanisms of creativity, which, in turn, are specified with real activity in the form of certain means, methods, rules and techniques.
Idealization is a vision of the ideal essence of an object, the mental construction of its ideal image, which reflects the perfection, fullness and richness of the object’s connections, harmoniously intertwined the criteria of its social significance, truth, goodness and beauty, resolving essential and most urgent contradictions.
Heuristic and constructive mechanism of idealization is manifested in the introduction of ideal connections, relations and qualities of an object into its real existence. In the process of any creative activity, this mechanism is manifested through intuition, anticipation and typing, and also specified in the form of a “preliminary action”, which consists in modeling the future ideal situation and creating real conditions for its optimal implementation.
Decentration is manifested in the ability to generate different approaches to the object of interaction, in the ability to change one's cognitive position, to take into account the points of view of other people.
Decentration is the process of mentally replacing established connections with unusual ones, loosening and destroying traditional ideas and stereotypes, overcoming the inertia of thinking, patterns and functional fixations. The implementation of this mechanism helps to create a three-dimensional, polyphonic vision of an object, to perceive all its signs and trends, including those that are mutually exclusive in an instantaneous time slice.
In real creative activity, decentration is manifested with the help of such psychological mechanisms and techniques as: “analysis through synthesis”, which consists in including objects in new connections and relationships, which leads to the disclosure of its new features and properties, “inversion”, which includes turning reversing the flow of time, the search for an anti-object and its anti-function, as well as the implementation of strategies - “do the opposite”, “turn harm into favor”.
Identification consists in identifying oneself with other people and objects of the surrounding world, actively implanting them, experiencing one's connections and relations with them.
With the help of the identification mechanism, the personality is immersed in objects of animate and inanimate nature, transfers itself to their time, space and causality, survives, cognizes their internal impulses, circumstances and logic of development.
At the social level of interaction, identification manifests itself as empathy, which reflects the affective relationship with other people and consists in getting into the inner world of another, in the ability to perceive and experience the states of another. Through identification with superpersonal values ​​and cultural wealth, a person overcomes his atomicity, appropriates and inspires objects around him, experiences his involvement in peace and history.
In real creative life, the identification mechanism is specified using such methods as “structuring and periodicity of actions”, “achieving resonance”, which consist in seeing the temporal specificity of objects, in perception of their unique internal rhythms, which allows to build an optimal system of interactions, highlight priorities, determine the order and frequency of acts to produce timely and effective impacts on the object.
At the same time, identification is realized through the mechanisms of "imitation" - imitation of the actions and external manifestations of objects, "projection" - of an imaginary transfer of oneself into a situation of an object, and "introjection" - the introduction of an imaginary object into its actual situation and real circumstances.
Self-actualization is understood as the desire for the most complete and continuous realization of one’s personal capabilities, as a belief in one’s own strength and ability to be oneself, as a spontaneous and sincere self-expression.
The mechanism of self-actualization reflects not only the free and spontaneous self-expression of the subject, but also its internal activity, ability to effort, initiative, aimed at self-mobilization and maximum disclosure of its unique creative potential. Self-actualization includes the discovery of one’s own “ideal” I, self-esteem, a sense of independence, the removal of internal barriers of understanding and the unconditional acceptance of my real, real experiences and their spontaneous and sincere expression.
One of the methods of implementing the self-actualization mechanism is “concentrating on the current moment” which consists in “compressing” subjective time, in complete immersion now, in artificially overestimating its meaning, in consciously breaking with past and future, in “purifying” relevance, in returning her true value and originality. Concentration on the moment, the experience of its uniqueness and originality lead to energization and mobilization of the creative abilities of the individual, to spontaneous and expressive disclosure e entity.
At the same time, self-disclosure and self-affirmation of a unique “I” implies a desire to manipulate the forms and essences of the world, to an exciting game with it, to change its real relations and proportions. In real creative interaction with the world, this aspiration is realized through such psychological mechanisms of imagination as transformation, hyperbolization and animation.
A necessary condition for interaction with the world is the implementation of an integrated system of interrelated mechanisms that interpenetrate, strengthen, cause each other and manifest simultaneously, creating certain configurations that are adequate to a specific “Pattern” of specific circumstances.
At the same time, each of these mechanisms has an internal dialogical structure and includes, as an integral part, a corresponding anti-mechanism.
Such interrelated mechanisms, each of which has a meaning only in unity with the opposite, include such dialectical pairs: idealization - problematization, decentration - simplization, identification - meditation, self-actualization - personalization.
I. Idealization - problematization.
Problematization - is to identify and consciously exacerbate the main contradictions of the object, in the perception and search for its shortcomings, gaps and disharmonies. In psychological terms, problematisation corresponds to such a mechanism of imagination as agglutination, which is an unusual combination of incompatible, often opposite, parts and features of objects.
2. Decentration - simplization.
Simplification manifests itself as the maximum simplification of the object and getting rid of all secondary, alluvial, instantaneous and confusing, as the desire for lightness, simplicity, clarity, as the ability to concentrate on the essence of the object, as the ability to simply, accurately and beautifully express its content without losing all its wealth and complexity. Simplization is realized on a psychological level with the help of
such mechanisms of imagination and subconsciousness as accentuation - exacerbation of underlining a separate part, a certain feature, through which the whole shines through and shift - a shift of attention to the part that again represents the whole.
3. Identification - meditation.
Meditation is manifested as the ability for temporary sensual isolation from the outer and inner world, as deliverance from one’s own subjectivity, as an impartial and fresh perception of entities and connections of objects, as penetration into their harmony, beauty and symmetry.
4. Self-actualization - personification.
Персонификация состоит в придании объектам внешнего мира субъектности, самостоятельности и активности, в наделении их человеческими чертами и свойствами, в приписывании им способности к саморазвитию и саморазвертыванию, предоставлении им возможности самостоятельной актуализации новых, иногда несущественных и слабых, но необходимых свойств.
Творческое взаимодействие человека с миром имеет не только содержательную, иерархическую, но и временную структуру, которая содержит ряд последовательных этапов: восприятие и переживание объектов действительности, их анализ и осмысление, манипулирование и оперирование ними. Последовательная и вместе с тем симультанная реализация этих этапов во всей их иерархический сложности и составляет то, что мы называем творческим отношением к действительности, ее творческим видением.
Creative attitude to reality is always a complete openness to the world, the desire to reveal all its conflicts and contradictions, the willingness to meet them, the ability to find their beautiful, elegant and effective solutions. At the same time, the creative vision of the world requires overcoming the immanent schematism, algorithmic and spiritlessness of individual methods and mechanisms, saturating them with creative meaning and supreme values.
LITERATURE:
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