Techniques for creating images of active imagination. Basic techniques for creating creative images
Types of imagination
1. Images of objects and phenomena that are not currently observable, but are fundamentally accessible to perception (existed in the past, known from descriptions).
2. Images of objects observed due to the limitations of the senses, but recorded by instruments (radiation, magnetic field).
3. Images of objects that must be created by man or arise in the process of development (house plan, forecast).
4. Images of objects that did not exist, do not exist and are not possible in the future (fairy-tale characters).
Images of the imagination arise as a new synthesis of elements identified in known objects and phenomena. When creating imaginary images, a number of psychological means are used. The most famous of them are the following.
Hyperbolization- exaggeration or reduction of objects and their properties (flying carpet, giant, midget, gnomes).
Accenting - exaggeration of individual parts in order to attract attention to them (in caricatures, caricatures).
Addition- elements of others are added to the image of a certain object in an unusual combination (modernization of technology).
Agglutination- a combination of elements of different images (mermaid, centaur, excavator).
Reconstruction- in terms of the image, a complete structure is being completed (the work of restorers and archaeologists).
Typing - expression of the general characteristics of a group of objects in a specific image (the heroes of fiction Ivan Chipka are a ruinous force).
Symbolism - providing an image with additional meaning does not follow from its external signs (dove - a symbol of peace, symbols in Ukrainian embroidered shirts).
Allegory- providing an image of hidden meaning (in the fables there are animals, but the reader means people).
Analogy- modeling of new images based on their similarity to really existing ones. For example, bionics designs technology using the principles of functioning of living organisms ("electronic eye", locator).
4. Types and individual originality of imagination
Types of imagination are distinguished according to several criteria.
By the nature of the purpose of the activity
According to the novelty of performance results
There is no sharp boundary between productive and reproductive imagination; creative imagination includes reproductive elements and vice versa.
Artistic. Her images are sensory (visual, auditory, tactile, etc.). It turns out that when working on works of art, it allows artists to see in detail and clearly the phenomena and events they embody. I. Repin, painting the picture “Cossacks writing a letter to the Turkish Sultan,” admitted that his head was spinning from their noise. G. Flaubert felt a taste of poison at the moment when he described the suicide of the heroine of the novel “Madame Bovary.”
Technical. Images of spatial relationships, geometric figures and structures predominate. They are recorded in the form of drawings, diagrams, drawings, on the basis of which new technology is created - inventions.
Scientific. Finds itself in scientific research and discovery. Provides for the organization of an experiment, the formulation of hypotheses, generalizations, taking into account a system of facts, the ability to change the view of it, to see it from different angles.
By motivating force
In connection with reality
People differ in the characteristics of their imagination - such as brightness, content, breadth, originality, ease of education. The description of individual characteristics of imagination is given as an assessment of superior types of imagination.
Individual characteristics of imagination depend on both physiological and personal factors. Physiological includes the type of higher nervous activity, the advantage of the first or second signaling system. Personal factors include professional factors, dependence on education and previous experience.
Images of creative imagination are created through various techniques and intellectual operations. In the structure of creative imagination, two types of such intellectual operations are distinguished. The first is the operations through which ideal images are formed, and the second is the operations on the basis of which the finished product is processed.
One of the first psychologists to study these processes was the outstanding French psychologist Théodule Armand Ribot (1839-1916). In his book The Creative Imagination, he identified two main operations: dissociation and association. Dissociation is a negative and preparatory operation during which sensory experience is fragmented. As a result of such preliminary processing of experience, its elements are able to enter into a new combination.
Dissociation is a spontaneous operation; it already manifests itself in perception. As Ribot writes, an artist, an athlete, a merchant and an indifferent spectator look at the same horse differently: “the quality that interests one is not noticed by another.” Thus, individual units are isolated from a holistic, figurative structure. The image “is subject to constant metamorphosis and processing in terms of the elimination of one thing, the addition of another, the decomposition into parts and the loss of parts.” Without prior dissociation, creative imagination is unthinkable. Dissociation is the first stage of creative imagination, the stage of preparing material. The impossibility of dissociation is a significant obstacle to creative imagination.
Association is the creation of a holistic image from elements of isolated units of images. The association gives rise to new combinations, new images. In addition, there are other intellectual operations, such as the ability to think by analogy with particular and purely accidental similarities. Thus, the aborigines of Australia called a book a “shell” only because it opens and closes: Ribot reduced such a desire to animate everything into two types: personification and transformation (metamorphosis). Personification consists in the desire to animate everything, to assume in everything that has signs of life, and even in lifeless things, desire, passion and will. Personification is an inexhaustible source of myths, superstitions, fairy tales, etc.
Important conditions for creative imagination are its purposefulness, that is, the conscious accumulation of scientific information or artistic experience, the construction of a specific strategy, the anticipation of expected results; prolonged “immersion” in the problem.
E.I. Ignatiev, studying issues of creative imagination, comes to the conclusion about the possibility of the emergence of a kind of creative dominant in those who are deeply involved in creative work. The appearance of such a dominant leads to increased observation, persistent search for materials, increased creative activity and productivity of imagination.
An interesting feature of the creative imagination is that this process is not like a systematic, continuous search for a new image. Increased creative productivity is combined with periods of decline in creative activity.
Many researchers are trying to figure out what precedes an outbreak of creative activity, and come to the conclusion that in this regard, a peculiar period of inhibition, a period of external inactivity, when processes take place in the subconscious that are not formed in consciousness, are of particular importance. Mental activity does not stop during such a lull; the work of creative imagination continues, but is not reflected in consciousness. Some authors call such quiet periods an inhibited trance state (“gestation intervals,” when a regrouping of information that has already been learned occurs). After such external “inaction,” the process of a final solution to the problem, the sudden birth of a creative image, occurs instantly, and an answer to a long-plagued question arises.
The trance interval - “gestation” - manifests itself in various external signs: for some it is special tension, stiffness, for others it is relaxation and even drowsiness. Often during such periods the researcher tries to distract himself from solving the problem, to force it out of his consciousness. But attention to the problem still remains; it lives in the imagination and dictates its laws to it. When nothing bothers him, there are no external stimuli and he is alone with himself (often before falling asleep), the imagination returns to the disturbing problem. It is reflected both in the content of dreams and in waking life, it does not leave the sphere of the subconscious in order to eventually break through into consciousness, and then comes a flash of insight, which at the beginning does not yet receive verbal expression, but is already emerging in the form of images.
A number of authors, in their study of the role of the phenomenon of imagination in discoveries, draw attention to the need at a certain stage to distract from the perception of information. The process of learning or becoming acquainted with new information occurs first in the subconscious, while the choice of new models of behavior or awareness of the information received occurs in the conscious mind. The two-sided nature of the creative process has given rise to a dilemma about whether artistic creativity is preceded by a period of inspiration or whether the creative process is spontaneous.
Many people think of the creative process as a spectrum, one side of which produces discovery through a conscious and logical process, while the other side produces sudden bursts of inspiration that arise spontaneously from the mysterious depths of the imagination.
According to psychologists, all great creations or inventions require a sudden switch, shift or movement of attention and turn to a subject or area that has not been previously studied or even of particular interest to them.
“The time has come” - this means that the processes that give rise to ideas, images, and actions in the imagination have come to an end. And now the seemingly well-known situation looks in a completely different light, and the solution to a problem that seemed logically inaccessible becomes really possible.
Such situations, which people were not aware of or regarded as inaccessible or similar, lead to an extreme heightening of imagination, perception, give rise to sudden insights, an unexpected ability to spontaneously make the right decision.
Thus, one of the compensatory mechanisms - activation of the imagination, used by a person in conditions of insufficient stimulation, at a certain stage can acquire a positive value.
There are traditionally identified operations of creative imagination, the so-called algorithms or techniques of imagination: combination, agglutination, hyperbolization, sharpening, schematization, typification, assimilation.
Combination– analysis and synthesis of elements of reality. This process allows you to mentally dissect reality into its component parts, then put them back together into a combination that is not directly given in sensations. For example, the author of a work of fiction can endow his characters with character traits that he observed in life in real people (prototypes of the artistic image). Although the character in a work of fiction never really existed, since he carries a combination of real traits, he is perceived “as if alive.”
Agglutination- a combination of dissimilar, incompatible features in one image. Thus, folk fantasy gave rise to such images as a mermaid (woman + fish) or a centaur (man + horse).
Hyperbolization– a mental enlargement of an object, phenomenon, or character. Since the size of objects is known through comparison, understatement of an object, phenomenon, or character is also a type of hyperbolization. Thus, a classic example of hyperbolization is the creation by Jonathan Swift of an imaginary country of Lilliputians and a country of giants.
Sharpening– emphasizing, emphasizing the sharpening of certain features, features of objects; characters. Thus, Pinocchio, a character in a fairy tale by Carlo Collodi, was distinguished by a long nose, which grew as a result of boasting (an exaggerated character trait of this hero).
Schematization- a technique in which individual ideas merge, differences are smoothed out, and similarities appear clearly (for example, when creating a floral ornament).
Malyuchenko N.L.
Development of creative imagination
in the process of teaching junior schoolchildren
Modern socio-economic conditions of the functioning of society encourage the education system to pay great attention to the problems of creativity and the formation of the qualities of a creative personality in the process of training and education.
The ability to create something new and unusual is laid down in childhood through the development of higher mental functions, such as thinking and imagination.
Imagination in the broad sense of the word, this is any process occurring in images (S.L. Rubinstein). Isolating individual components of an image allows the child to connect details of different images and come up with new, fantastic objects or phenomena. Thus, a child can imagine an animal that combines parts of many animals and therefore has qualities that no existing animal in the world has. In psychology this ability is called fantasy.
No one today argues that fantasy plays a huge role in any creative activity. But the recognition of the greatest value of fantasy was not, until recently, accompanied by systematic efforts to develop it. Only timid and random attempts were made to use some techniques for developing the imagination. Thus, the great painter Leonardo da Vinci advised young artists to start with such a simple exercise as looking at cracks in walls, random spots, puddles and finding similarities in them with objects in the surrounding world. Following the advice of the Italian artist, you can develop children’s powers of observation and imagination spontaneously, using any opportunity: while walking, examine and compare cracks in the asphalt, clouds floating across the sky, tree leaves, etc.
Until recently, one of the most accessible methods of fantasy training was art. Real music, painting, poetry always awaken imagination, but there is a type of art that is itself based on a developed imagination and, moreover, serves its development - science fiction literature. Therefore, in order to develop creative imagination, primary schoolchildren are recommended to read as much science fiction literature as possible.
There are several psychological qualities underlying fantasies:
clear and precise representation of the image of the object;
good visual and auditory memory, allowing you to retain an image-representation in consciousness for a long time;
the ability to mentally compare two or more objects and compare them by color, shape, size and number of parts;
the ability to combine parts of different objects and create objects with new properties.
good incentives for fantasy are unfinished drawings, vague images such as inkblots or scribbles, descriptions of unusual, new properties of objects.
The imagination of a primary school student is still very limited. The child still thinks too realistically and cannot break away from familiar images, ways of using things, and the most likely chains of events. For example, if you tell a child a fairy tale about a doctor who, while going to see a sick person, asked an inkwell to guard the house, then the child agrees with this, since in a fairy tale a thing can perform different functions. However, the child begins to actively object if he is told that when the robbers arrived, the inkwell barked. This does not correspond to the actual properties of the inkwell.
Fantasy, like any form of mental reflection, must have a positive direction of development. It should contribute to better knowledge of the world around us, self-discovery and self-improvement of the individual, and not develop into passive daydreaming, replacing real life with dreams.
Everything that surrounds us is created by nature and human imagination. Fantasy is the ability for creative imagination. Imagination is a person’s ability to mentally imagine objects and processes that are not perceived by him at the moment or that do not exist.
Without the ability to dream and fantasize, it would be impossible to create anything new.
In the process of teaching and upbringing younger schoolchildren, you can use the following: techniques fantasizing:
1. Fantasy technique “Revival”.
Children are invited to come up with a fairy tale about some object in the briefcase (ruler, pencil, etc.).
2. “Binom-fantasy” technique described in Gianni Rodari's book "The Grammar of Fantasy". A binomial is created from two words so that these words are separated by a known distance; so that one word is alien to another; so that their proximity would be unusual. Only then is the imagination forced to become more active, striving to establish a relationship between these words, to create a unified one.
If you come across words such as “monkey – pump”, then this is a Binomial, because there is a semantic distance between the two words. After all, in ordinary life, monkeys do not use a pump. And therefore, when such words collide, a “flash” of associative thinking occurs. Now you need to help the student start a fairy tale. You can start it with the monkey finding the pump. This is the kind of fairy tale the children got.
“The monkey Tutti found a pump on a palm tree. Neither the monkey nor other African animals and birds knew what to do with this pump. The boa constrictor decides to take the pump away from the monkeys and drag it to himself. He grabbed the hose, and the monkey, in surprise, began to raise and lower the pump handle. After a few minutes, the boa constrictor swelled and turned into a ball. He couldn’t hold on, rolled off the palm tree and, like a huge soccer ball, rushed towards the Crocodile River.”
3. Constructing models of fairy tales and composing them using resources.
Modeling fairy tales will help the child better navigate real life. The minimal model of a fairy tale is a triangle, only a fairy-tale one, consisting of an ordinary hero (OG), a fairy-tale hero (SG) and magic (W)
OG SG
(Emelya) (Pike)
As a fairy-tale hero, you can offer an object that needs to be studied. Children begin to compose fairy tales by searching for the resources of the future fairy-tale hero and identifying his properties.
One of the options for modeling and composing fairy tales is to use a fairy tale model in which the usual hero is the child himself.
4. The “Inside Out” technique for composing fairy tales.
Children are invited to come up with a fairy tale about three little pigs and a gray wolf. Only the piglets in this fairy tale are evil and cunning, and the wolf is kind and trusting.
5. Come up with a fairy tale with these characters
In the zoo there lived a lion, a parrot and a dog. One day…
At the edge of the forest lived a little gnome. He lived alone in his small house. One day…
6. Technique “Fantastic hypotheses”.
What would happen and what would you do if:
Orange juice flowed from the kitchen faucet;
Raisins began to fall from the clouds instead of rain;
People came up with a sleep pill.
Let's look at fantasy techniques based on the Russian folk tale "Kolobok". As you know, the end of this fairy tale is sad - the Fox swallows Kolobok. Children are invited to come up with another ending to the fairy tale, starting with a critical situation: Kolobok is sitting on the Fox’s nose.
Here are options for the ending of the fairy tale “Kolobok”.
1. Using the fantasy technique “inversion” (do the opposite) allows you to change the qualities or properties of an object to the opposite. The following options exist:
The bun is tasty, but on the contrary, it is tasteless, since mustard, pepper, adjika were added to the dough...
The bun is ruddy, but on the contrary, it is scary, since it was painted with black, brown, and green paint. No one will eat such a Kolobok.
You can also change the fact of eating Kolobok to the opposite. For example, Kolobok opened his mouth so wide when singing that he did not notice how he swallowed the Fox.
2. Technique “Increase-decrease an object (fact)”
When using the “Magnification of the object” technique, the following version of the ending of the fairy tale is obtained: “The bun began to take in a lot of air in order to sing a song loudly, inflated like a balloon and flew away from a gust of wind.” And vice versa, “Kolobok was very frightened, shrank and became so small that the Fox did not see him.”
3. Technique “Acceleration - deceleration of action (fact)”
When using the “Acceleration of Action” technique, the following version of the ending of the fairy tale was obtained: “Kolobok sang so quickly that the Fox, not understanding his song, decided that Kolobok had spoiled and did not eat him.” And vice versa: “Kolobok slowly and melodiously sang his song. The fox yawned sweetly and fell asleep, and Kolobok rolled on.”
4. Technique “Dynamic - static”.
When using the “Dynamism” technique, the following version of the ending of the fairy tale was obtained: “Out of joy that his song was praised, Kolobok began to jump on the Fox’s nose. No matter how hard the Fox tried to swallow it, nothing worked.” And vice versa, “The bun was so heavy that the Fox, having swallowed it, could not budge, and with difficulty rolled it back.”
5. “Fragmentation-combination” technique.
When using the “Crushing” technique, the end of the fairy tale turned out like this: “The bun was made from shortcrust pastry. When the Fox bit him, he crumbled into small Koloboks. On the ground, the Koloboks covered themselves with clay, stuck together, and the Kolobok rolled on.” When using the “Unification” technique, the following happened: “The dough in the Fox’s stomach began to swell, and the Fox began to look like a ball. She rolled along the path, humming Kolobok’s song.”
6. Using the “Universalization – Restriction” technique allows you to make an object universal so that its actions extend to a large class of phenomena and vice versa.
Using the “University” technique made it possible to get the following ending to the fairy tale: “The bun was like chewing gum, it stuck to the teeth, so the Fox couldn’t swallow it,” and when using the “Delimitation” technique, the following picture was obtained: “The bun was big and got stuck in the mouth of Foxes"
The use of these techniques made it possible to develop the ability to apply fantasy techniques in practice, visually and in action to imagine fantastic objects.
Literature
Vygotsky L.S. Imagination and creativity in childhood. – St. Petersburg, “Soyuz”, 1997.
Rodari J. The Grammar of Fantasy: An Introduction to the Art of Inventing Stories. – M., 1978
Rubinshtein S.L. Fundamentals of general psychology. – M., Pedagogy, 1989
Strauning A., Strauning M. Games for the development of creative imagination based on the book by J. Rodari. – Rostov-on-Don, 1992.
Shusterman Z.G. New adventures of Kolobok or the Science of thinking for big and small. – M., 1993
1. Agglutination (combination) – a technique for creating a new image by subjectively combining elements or parts of some original objects. We are not talking here about a mechanical unification, but about a genuine synthesis. In this case, completely different, even incompatible objects, qualities, and properties can be combined in everyday life. Many fairy-tale images have been created through agglutination (mermaid, hut on chicken legs, centaur, sphinx, etc.). The described technique is used both in art and in technical creativity. It can be used in social cognition in the formation of a holistic image of both oneself and another.
2. Analogy – This is the creation of something new that is similar to the known. Analogy is a subjective transfer of basic properties and objects from one phenomenon to another. This technique is widely used in technical creativity. Thus, by analogy with flying birds, people came up with flying devices; by analogy with the shape of a dolphin’s body, the frame of a submarine was designed. Using self-analogy, you can understand the motives behind the behavior of others.
3. Accenting - this is a way of creating a new image in which some quality of an object or its relationship with another is brought to the fore and strongly emphasized. This technique is the basis of caricatures and friendly caricatures. It can also be used to understand certain stable, characteristic features of other people.
4. Hyperbolization – subjective exaggeration (understatement) of not only the size of an object (phenomenon), but also the number of its individual parts and elements or their displacement. An example is the image of Gulliver, Little Thumb, the multi-headed Dragon, Thumbelina, Lilliputians and other fairy-tale images. This is the simplest technique. You can increase and decrease almost everything: geometric dimensions, weight, height, volume, richness, distance, speed. This technique can be used in self-knowledge and knowledge of other people, mentally exaggerating certain personal qualities or character traits. Hyperbolization makes the image bright and expressive, highlighting some of its specific qualities. Thus, in Fonvizin’s comedies, the images of Mitrofanushka, Skotinin, and Pravdin are created in order to arouse disgust in the reader for their character traits and style of behavior.
5. Typing – This is a technique for generalizing a set of related objects in order to highlight common, repeating features in them and embody them in a new image. In this case, specific personal qualities are completely ignored. This is the most difficult way to form a new image. This technique is widely used in literature, sculpture and painting. Typification used by A.N. Ostrovsky in his plays when creating images of merchants.
6. Addition consists in the fact that an object is attributed (or given) qualities and properties that are alien to it (most often mystical). Based on this technique, some fairy-tale images were created: running boots, a goldfish, a flying carpet.
7. Moving – this is the subjective placement of an object in new situations in which it has never been and cannot be at all. This technique is very widely used to understand other people, as well as in artistic creativity. Any work of art represents a special system of psychological time and space in which the characters operate.
8. Merger – arbitrary comparison and combination of the qualities of different objects in one image. So, L.N. Tolstoy wrote that the image of Natasha Rostova combines the qualities of his wife Sonya and her sister Tanya. Similarly, you can use a merge in a building drawing in which several architectural styles can be combined.
The listed techniques of creative imagination are interconnected. Therefore, when creating one image, several of them can be used simultaneously.
SELF-TEST QUESTIONS
1. What is the role of memory in the formation of a person’s life experience?
2. What is the connection between memory and the future in the life of an individual?
3. What does knowledge of the basic laws of memory give a person?
4. What are the grounds for classifying types of memory?
5. What is the difference between RAM and short-term memory?
6. What information is transferred to long-term memory?
7. List the main memory processes.
8. Under what conditions can the productivity of involuntary memorization be higher than voluntary?
9. What types of storage as a memory process exist?
10. List the factors for effective memorization.
11. What is the influence on memorization of a person’s personal characteristics and his emotional state at the time of memorization?
12. What is the role of imaginative thinking in solving engineering problems?
13. What is the specificity of verbal-logical thinking?
14. What is the difference between motor memory and visual-effective thinking?
15. What are the specifics of creative imagination?
16. Name the types of reconstructive imagination.
17. How does objective imagination differ from socio-psychological imagination?
18. List the techniques for creating images of creative imagination.
19. How can you use analogy and displacement to understand other people?
20. What are the features of memory in children?
21. Reveal ways to develop children's imaginative thinking.
TASKS FOR INDEPENDENT WORK
Exercise 1
Determine what types of memory are activated in the following life situations:
§ the doctor prescribes treatment for the patient, listing the procedures that he needs to perform;
§ the experimenter asks the subjects to look at the table and immediately reproduce what they saw;
§ the witness is asked to make a verbal portrait of the criminal;
§ the host of the competition asks the participants to try the proposed dish and determine from what products it is prepared;
§ The director instructs the actor to master a new role in the play.
Task 2
How do you explain the facts described?
§ One actor had to unexpectedly replace his friend and learn his role within one day. During the performance, he knew her perfectly, but after the performance, everything he had learned was erased from his memory like a sponge and the role was completely forgotten by him.
§ In “Memories of Scriabin” by L.L. Sabaneev quotes the composer’s words: “What does C major seem like to you? Red. But the minor is blue. After all, every sound, or rather, tonality, has a corresponding color.”
Task 3
§ Imagine your future professional activity and indicate what demands it makes on the imagination.
§ Describe the imagination of people with given character traits (ambition, cowardice, anxiety, vindictiveness, compassion) in the context of relevant life situations.
§ Give a description of the imagination that is actualized in the following situations: a) looking at the notes, the musician “hears” the melody; b) in a moment of danger, his whole life can be clearly represented in a person’s mind.
§ The artist is developing a design project for the assembly hall.
§ A child listens to the fairy tale “The Three Little Pigs.”
Task 4
Indicate what techniques for creating images were used in the following cases: mermaid, Serpent-Gorynych, amphibian man, bun, Baba Yaga, Plyushkin, self-assembled tablecloth, Don Juan, portrait of A.S. Pushkin, submarine, Pechorin, radar.
Task 5
What types of thinking are evident in the situations below? (When answering, indicate the characteristics of the corresponding type of thinking).
§ The seamstress cutting out the details of the future dress.
§ Manufacturing of a complex part by a master on a lathe.
§ Design by an interior designer.
§ Student solution to a problem in theoretical mechanics.
§ Assembling a structure from a play set by a child.
§ Drawing up of a future construction plan by the architect.
Task 6
Determine which mental operations and types of thinking the following given influences are aimed at?
§ Compare Karelia and Yakutia in terms of natural conditions and number of inhabitants.
§ Make a sentence from a given set of words.
§ Formulate the main idea of M. Bulgakov’s novel “The Heart of a Dog.”
§ The head of the department instructs the accountant to prepare a report using the available financial documents for the current period.
1. Agglutination (combination)– a technique for creating a new image by subjectively combining elements or parts of some original objects. We are not talking here about a mechanical unification, but about a genuine synthesis. At the same time, completely different, in everyday life even incompatible objects, qualities, properties can be combined. Many fairy-tale images have been created through agglutination (mermaid, hut on chicken legs, centaur, sphinx, etc.). The described technique is used both in art and in technical creativity. It can be used in social cognition in the formation of a holistic image of both oneself and another.
2. Analogy– This is the creation of something new that is similar to the known. Analogy is a subjective transfer of basic properties and objects from one phenomenon to another. This technique is widely used in technical creativity. Thus, by analogy with flying birds, people came up with flying devices; by analogy with the shape of a dolphin’s body, the frame of a submarine was designed. Using self-analogy, you can understand the motives behind the behavior of others.
3. Accenting- this is a way of creating a new image in which some quality of an object or its relationship with another is brought to the fore and strongly emphasized. This technique is the basis of caricatures and friendly caricatures. It can also be used to understand certain stable, characteristic features of other people.
4. Hyperbolization– subjective exaggeration (understatement) of not only the size of an object (phenomenon), but also the number of its individual parts and elements or their displacement. An example is the image of Gulliver, Little Thumb, the multi-headed Dragon, Thumbelina, Lilliputians and other fairy-tale images. This is the simplest method. You can increase and decrease almost everything: geometric dimensions, weight, height, volume, richness, distance, speed. This technique can be used in self-knowledge and knowledge of other people, mentally exaggerating certain personal qualities or character traits. Hyperbolization makes the image bright and expressive, highlighting some of its specific qualities. Thus, in Fonvizin’s comedies, the images of Minor, Skotinin, and Pravdin are created in order to arouse disgust in the reader for their character traits and style of behavior.
5. Typing – This is a technique for generalizing a set of related objects in order to highlight common, repeating features in them and embody them in a new image. In this case, specific personal qualities are completely ignored. This is the most difficult way to form a new image. This technique is widely used in literature, sculpture and painting. Typification used by A.N. Ostrovsky in his plays when creating images of merchants.
6. Addition consists in the fact that an object is attributed (or given) qualities and properties that are not characteristic of it (most often mystical). Based on it, some fairy-tale images were created: running boots, a goldfish, a flying carpet.).
7. Moving – this is the subjective placement of an object in new situations in which it has never been and cannot be at all. This technique is very widely used to understand other people, as well as in artistic creativity. Any work of art represents a special system of psychological time and space in which the characters operate.
8. Merger - arbitrary comparison and combination of the qualities of different objects in one image. So, L.N. Tolstoy wrote that the image of Natasha Rostova combines the qualities of his wife Sonya and her sister Tanya. Similarly, you can use a merge in a building drawing in which several architectural styles can be combined.
The listed techniques of creative imagination are interconnected. Therefore, when creating one image, several of them can be used simultaneously.
SELF-TEST QUESTIONS:
1. What is the role of memory in the formation of a person’s life experience?
2. What is the connection between memory and the future in the life of an individual?
3. What does knowledge of the basic laws of memory give a person?
4. What are the grounds for classifying types of memory?
5. What is the difference between RAM and short-term memory?
6. What information is transferred to long-term memory?
7. List the main memory processes.
8. Under what conditions can the productivity of involuntary memorization be higher than voluntary?
9. What types of storage as a memory process exist?
10. List the factors for effective memorization.
11. What is the influence on memorization of a person’s personal characteristics and his emotional state at the time of memorization?
12. What is the role of imaginative thinking in solving engineering problems?
13. What is the specificity of verbal-logical thinking?
14. What is the difference between motor memory and visual-effective thinking?
15. What are the specifics of creative imagination?
16. Name the types of reconstructive imagination.
17. How does objective imagination differ from socio-psychological imagination?
18. List the techniques for creating images of creative imagination.
19. How can you use analogy and displacement when understanding other people?
20. What are the features of memory in children.
21. Reveal ways to develop children's imaginative thinking.
TASKS FOR INDEPENDENT WORK
Exercise 1
Determine what types of memory are activated in the following life situations.
· the doctor prescribes treatment for the patient, listing the procedures that he needs to perform;
· the experimenter invites the subjects to look at the table and immediately reproduce what they saw;
· the witness is asked to make a verbal portrait of the criminal;
· the host of the competition asks the participants to try the proposed dish and determine from what products it is prepared;
· the director instructs the actor to master a new role in the play.
Task 2
How do you explain the facts described?
· One actor had to unexpectedly replace his friend and learn his role within one day. During the performance, he knew her perfectly, but after the performance, everything he had learned was erased from his memory like a sponge, and he completely forgot the role.
· In “Memories of Scriabin,” L.L. Sabaneev quotes the composer’s words: “What does C major seem like to you? Red. But the minor is blue. After all, each sound, or rather, tonality, has a corresponding color.
Task 3
· Imagine your future professional activity and indicate what demands it makes on the imagination.
· Describe the imagination of people with given character traits (ambition, cowardice, anxiety, vindictiveness, compassion) in the context of relevant life situations.
· Describe the imagination that is actualized in the following situations: a) looking at the notes, the musician “hears” the melody; b) in a moment of danger, his whole life can be clearly represented in a person’s mind.
· The artist is developing a design project for the assembly hall;
· d) the child listens to the fairy tale “The Three Little Pigs.”
Task 4
Indicate what techniques for creating images were used in the following cases: mermaid, Serpent-Gorynych, amphibian man, bun, Baba Yaga, Plyushkin, self-assembled tablecloth, Don Juan, portrait of A.S. Pushkin, submarine, Pechorin, radar.
Task 5
What types of thinking are evident in the situations below? (When answering, indicate the characteristics of the corresponding type of thinking).
A. A seamstress cutting out the details of the future dress.
B. Manufacturing of a complex part by a master on a lathe.
B. Design of the interior space by a designer.
D. Student solving a problem in theoretical mechanics.
D. Assembling a construction set by a child.
E. Drawing up by the architect of the future construction plan.
Task 6
Determine the manifestation of which mental operations and types of thinking are the following given influences aimed at?
· Compare Karelia and Yakutia in terms of natural conditions and number of inhabitants.
· Compose a sentence from the given set of words.
· Formulate the main idea of M. Bulgakov’s novel “The Heart of a Dog.”
· The head of the department instructs the accountant to prepare a report using the available financial documents for the current period.