Thinking operations. Forms and Operations

In the process of mental activity, a person knows the world With the help of special mental operations. These operations make up various interrelated, passing the side of thinking on each other. The main mental operations are the analysis, synthesis, comparison, abstraction, concretization and generalization.

Analysis - This is a mental decomposition of the whole on a part or a mental allocation from the whole parties, actions and relationships. In elementary form, the analysis is expressed in the practical decomposition of items on the component parts.

Synthesis - This is a thought union of parts, properties, actions into a single whole. Synthesis operation is opposite to analysis. In its process, the relations of individual items or parts to their complex integer are established. Analysis and synthesis is always in unity. It is analyzed what includes something in common. Synthesis also involves the analysis: To combine some parts, elements into a single whole, these parts and signs must be obtained as a result of the analysis.

Comparison - This is the establishment of similarities or differences between objects and phenomena or their individual features. Practically comparison is observed when applying one item to another, for example, one pencil to another.

Abstraction It is that the subject, hiding any properties, signs of the object being studied, is distracted from the others. In this process, the feature separated from the object thinks independently of other signs of the subject, becomes independent subject Thinking. Abstraction is usually carried out in the analysis process. It is by abstraction that distracted, abstract concepts of length, latitude, quantity, equality, cost were created.

Specification Inappropriate the return of thought from the general and abstract to a specific detention. To specificization, they are addressed if the thought expressed is incomprehensible to others or it is necessary to show the manifestation of common in a single one. When we are asked to give an example, then, in fact, the request is to specify the preceding statements.

Generalization - mental unification of objects and phenomena for their common and essential features, for example, the identification of similar signs available in apples, pears, etc. The simplest generalizations are to combine objects on the basis of individual, random signs. A comprehensive generalization is more complex, in which objects are combined on different bases.

All specified operations cannot manifest isolated, out of contact with each other. Based on them there are more complex thinking operations.

In addition to operations, there are also thinking processes: 1) judgment - This is a statement containing a certain thought; 2) review - represents a series of logically related statements, of which new knowledge is derived; 3) definition of concepts is considered as a system of judgments about a certain class of objects (phenomena), allocating the most general signs; 4) induction and deduction - These are ways to produce conclusions, reflecting the focus of thought. Induction involves the withdrawal of private judgment from General, and deduction is the withdrawal of a common judgment from the private.

To solve some problem, a person can come by logical reasoning, building the entire chain of reasoning. This thinking is called discursive.

12.5. Operational composition of thinking

Thinking is performed through various thinking operations. They are the main mechanisms of thinking. Such operations are comparison. Analysis, synthesis, abstraction (distraction) and generalization.

Comparison - A thinking operation, which consists in comparison of items and phenomena, finding similarities, differences and identities between them.

Analysis - mental dismemberment, separation of objects and phenomena on parts, elements, moments.

Synthesis - A mental union of parts of elements into a single whole. The analysis dismested, the synthesis unites in a new way.

Analysis and synthesis exist in an inseparable unity. During the solution of the task, thinking acts as a process. In the course of the decision, there are still new and new conditions that determine the further flow of the thought process. The unknown is not some absolute emptiness, it is always associated with something known. When entering into connection with other objects, a cognitive object appears before us all with its new parties and properties. From the object, as it were, all new and new content is drawn. For example, direct can act as bisector of this angle. as hypotenuse, etc. Thus, through interaction with other objects (synthesis), new qualities (analysis) are calculated. Analysis through synthesis, according to S.L. Rubinztein, is the main mechanism of thinking.

Abstraction - Allocation of some signs and distraction from others (carried out on the basis of analysis).

Generalization - mental association of objects and phenomena for their common and essential signs of knowledge regarding this subject area:

§ individual facts, provisions, definitions are confined as the most important, decisive for its understanding);

Thinking - mental process A generalized and indirect reflection of sustainable natural properties and reality relations implemented to solve cognitive problems, systematic orientation in specific situations. Independent activity is a system of mental actions, operations to solve a certain task.

Thinking is the highest stage of human knowledge. Allows you to get knowledge about such objects, properties and relationships. real Mirawhich cannot be directly perceived on the sensual stage of knowledge. The forms and laws of thinking are studied by the logic, the mechanisms of its flow of psychology and neurophysiology. Cybernetics analyzes thinking due to the tasks of modeling some mental functions.

Thinking operations. Forms of thinking.

1. Analysis - decomposition of a whole on a part or properties (form, color, etc.)

2. Synthesis - a mental union of parts or properties into a single whole

3. Comparison - comparison of items and phenomena, finding similarities and differences

4. Generalization - mental association of items and phenomena for their common significant features

5. Abstraction - allocation of some signs and distraction from others.

6. Concretization is the opposite process. We use specific phenomena.

These operations are not just various viewing and independent variants of mental actions, but between them there are coordination relations, since they are private, species forms of the main, generic media. Moreover, arbitrary regulation of thinking creates the possibility of reversibility of operations: dismemberment and compound (analysis and synthesis), establishing similarity and detection of differences (or comparison: if A\u003e b, then b

Concept and scientific knowledge. Our thinking will be the more accurate, the more accurate and indisputable concepts we associate. The concept arises from the usual presentation by clarification, it is the result of the thinking process, with which the child and the adult opens the relationship between objects and events.

Forms - judgment, conclusion, concept, analogy.

The most simplest structural form of thought is the concept. By definition, the concept is a form of thought reflecting the general significant and distinctive signs of the subject of thought. The sign will be any property of an external or internally obvious or directly observable, general or distinctive. The concept may reflect the phenomenon, the process, the subject (material or imaginary). The main thing for this form of thought is to reflect the general and at the same time essential, distinctive in the subject. General features are those who are inherent in several subjects, phenomena, processes. Significant is a sign that reflects the internal, the indigenous property of the subject. The destruction or change of this feature entails a qualitative change in the subject itself, and therefore its destruction. But it should be borne in mind that the existence of a sign of one or another is determined by the interests of the person who has undergone the situation. An essential sign of water for a thirsty person and for a chemist will be two different properties. For the first - the ability to quench thirst, for the second - the structure of water molecules. Since the concept of nature is "ideal", it does not have a real-material expression. The material carrier of the concept is the word or a combination of words. For example, "table", "group of students", "solid body". The subject of study of logic is the forms and laws of proper thinking. Thinking is the function of a human brain, which is inextricably linked with the language. Language features: Store information, be a means of expressing emotions, be a means of knowledge. It may be oral or written, sound or non-unroyed, speech of an external or inner, speech, expressed with a natural or artificial language. The word only expresses the concept, it is material education, convenient for transfer, storage and processing. The word, denoting the subject, replaces it. And the concept, expressing in the Word, reflects this subject in the most important, essential, general features. The thought is not possible to transfer to the distance. A person transmits the signals to the distance arising in the head of thoughts using speech (words), which are perceived by other people, turn into appropriate initial, but now their thoughts. At this stage, you can determine that the concept, word and subject, completely different things inherently. For example, one person informs another that he acquired a written table, let's say without adding any other characteristics. In order to simplify, we allocate only one concept of "writing table" from context. For the first person, it is associated with a specific subject with a number of properties, from which significant - it is intended for the letter. With the help of speech, the thought of "writing table" is transmitted to another person and is already turning into his thought. In the head of the latter, on the basis of the concept of an ideal "written table" (generalized, abstract), the image of this "writing table" as an object occurs. In my opinion, despite the fact that this concept could be conveyed and with the help of not two, and more combinations of words characterizing the subject, then ultimately the image of a "written table", reproduced in the head of another person still not fully Complied with a specific object described exactly. Therefore, the subject, the word and concept is interrelated, but not identical. Signs of subject and signs of concept do not coincide with each other. Signs of any material subject is external or internal properties, signs of concept - generalization, abstractness, ideality. The formation of a concept includes many logical techniques: 1. Analysis is a mental decomposition of objects on its signs. 2. Synthesis is a mental connection of the signs of the subject in one. 3. Comparison is a mental comparison of one subject with another, identifying the signs of similarities and differences in one way or another. 4. Abstraction is a mental comparison of one subject with others, identifying signs of similarities and differences.

The judgment is a form of thought that establishes a logical connection between two and more concepts. Between the concepts, as the above, identity relations, subordination, partial coincidence, which can be expressed by the logical bunch of "there". The relations of contradiction, opposites and coented can be expressed by the logical bunch of "not there." These relationships expressed in the form of grammatical proposals will be judgments of different types. Representatives of nominal logic consider logic as a science of language. "Logic," says English Nominal Nominal R. Wetley, "it only has a language. Language in general, for whatever purpose, it does not serve, make up the subject of grammar, the language, as far as it serves as a means for conclusion, is the subject of logic. " Based on such an understanding of the subject of logic, the nominalists identify judgment with the proposal. For them, judgment is a combination of words or names. "Offer," says the nominal gobbs, is a verbal expression consisting of two, interconnected by a bunch of names ... ". Thus, according to the nominalists, what we, something we affirm (or deny) in judgment, there is a certain connection of these words. Such interpretation of nature of judgment is wrong. Of course, any judgment is expressed in the sentence. However, the proposal is only the language shell of judgment, and not the judgment itself. Any judgment can be expressed in the proposal, but not any proposal can express judgment. So do not express the judgments of questioning, incentive proposals, since they do not reflect the truths or lies, do not establish logical relations. Although they are forms of thought. The judgments actually reflecting the subject and its properties will be true, and inadequately reflecting - false.

The conclusion is a way to obtain a new knowledge based on some available. It represents the transition from some statements that record the presence of some situations in reality, to a new statement and, accordingly, to know about the presence of a situation that this statement describes. For example, in the mechanics it is known that in any body whose density is the same in all its parts, the geometric center and the center of gravity coincide. It is also known (as a result of astronomical observations) that these centers do not coincide. From here it is natural to conclude that the density of the Earth is not the same in all its parts. It is hardly necessary to specifically talk about the meaning of this operation in cognitive and practical activities. Through conclusions, we receive the increment of knowledge, not referring to the study of objects and phenomena of the reality itself, we have the opportunity to open such connections and the relationship of reality that cannot be discussed directly. The transition from some statements (facilities of conclusion) to the statement (conclusion) in conclusion can be performed on the basis of the intuitive discretion of some bond - such conclusions are called meaningful; Or by logical removal of one statement from others is the conclusion of a formal logical nature. In the first case, it is essentially a mental act. In the second case, it can be viewed as a certain logical operation. The latter is the subject of studying logic.



The mental activity of people is committed with mental operations: comparisons, analysis and synthesis, abstraction, generalizations and concretization. All these operations are different sides of the main activity of thinking - circulation. Disclosures of increasingly significant objective bonds and relations between objects, phenomena, facts (1).

Comparison - This is a comparison of objects and phenomena in order to find similarities and differences between them. K. D. Ushinsky considered the comparison operation of the basis of understanding. He wrote: "... Comparison is the basis of all understanding and all thinking. Everything in the world we know no other way, like through a comparison ... If you want someone to be clearly understood, then distinguish it from the most Similar objects with it and find similarity in it with the most distant items: then just figure out all the essential signs of the subject, which is, it means to understand the subject "(2).

Comparing objects or phenomena, we can always notice that in some respects they are similar to among themselves, in others - are different. Recognition of objects with similar or different depends on which parts or properties of objects are currently significant for us. It often happens that the same items in some cases are considered similar, in others - different. For example, with a comparative study of pets from the point of view of their use for a person, many similar signs are revealed between them, but many differences are detected in the study of their structure and origin.

Comparing, a person allocates first of all those features that are important for solving a theoretical or practical vital problem.

"Comparison," says S. L. Rubinstein, - comparing things, phenomena, their properties, reveals the youth and differences. I detect the identity of some and the differences in other things, the comparison leads to their classification. The comparison is often the primary form of knowledge: things first know by comparison. This is at the same time the elementary form of knowledge. The athex and the difference, the main categories of rational knowledge, perform first as an external relationship. Deeper knowledge requires disclosure of internal connections, patterns and significant properties This is carried out by other parties to the thought process or types of mental operations - primarily by the analysis and synthesis "(3).

Analysis- This is the mental dismemberment of the subject or phenomenon on the parts forming it or the mental selection of individual properties, features, qualities in it. By perceiving the subject, we can mentally allocate one part in it after another and thus recognize from which parts it consists. For example, in the plant we highlight the stem, root, flowers, leaves, etc. In this case, the analysis is a mental decomposition of a whole to the components of it.

An analysis can be a mental allocation of its individual properties, signs, parties. For example, mental color isolation, the form of the subject, the individual characteristics of the behavior or the character traits, etc.

Synthesis - This is a mental connection of individual parts of items or a mental combination of individual properties. If the analysis gives knowledge of individual elements, then synthesis, based on the results of the analysis, combining these elements, ensures knowledge of the object as a whole. So, when reading in the text, individual letters, words, phrases are allocated and at the same time they are continuously associated with each other: letters are combined into words, words - in suggestions, offers - in those or other text sections. Or remember the story of any event - separate episodes, their relationship, dependence, etc.

Developing on the basis of practical activity and visual perception, analysis and synthesis should be carried out both as independent, purely mental operations.

In each complex process of thinking, analysis and synthesis are involved. For example, by analyzing individual actions, thoughts, feelings of literary heroes or historical figures and as a result of the synthesis, the holistic characteristic of these heroes, these figures mentally creates mentally.

"Analysis without synthesis is vicious; - emphasizes S. L. Rubinstein, -The parkings of one-sided use of analysis outside the synthesis lead to a mechanistic note of the whole to the sum of parts. Similarly, synthesis without analysis is also impossible, as the synthesis should restore in the thoughts in the significant relationships of its elements that allocate the analysis "(4).

Abstraction - It is a mental allocation of essential properties and signs of objects or phenomena while distracting from insignificant features and properties. For example, to assimilate the proof of the geometric theorem in general, it is necessary to distract from the private features of the drawing - with chalk or pencil, it is made as letters are designated vertices, the absolute length of the parties, etc.

The feature dedicated in the abstraction process or the object property is to mention independently of other signs or properties and become independent objects of thinking. So, in all metals we can allocate one property - electrical conductivity. Watching how people, cars, airplanes, animals, rivers, etc. are moving, we can allocate one general sign in these objects - movement. With the help of abstraction, we can receive abstract concepts - courage, beauty, distance, severity, length, width, equality, cost, etc.

Generalization - Association of similar objects and phenomena on common features for them (5). The generalization is closely related to the abstraction. The person could not generalize, without being distracted by the differences in what they were generalized. It is impossible to mentally combine all the trees, if you do not distract from the differences between them.

When generalizing, they take the signs that we received during abstraction, for example, all metals of electrically conductive. Generalization, like abstraction, occurs with the help of words. Any word applies not to a single object or phenomenon, but to a variety of similar unit objects. For example, in the concept that we express the word "fruits", the similar (significant) signs that are available in apples, pears, plums, etc. are connected.

In training activities, generalization is usually manifested in the definitions of conclusions, rules. Children are often difficult to make a generalization, since they are not always able to allocate not only common, but significant general signs of objects, phenomena, facts.

« Abstraction and generalization, emphasizes S. L. Rubinstein, - in its original forms rooted in practice and performing in practical actions related to the needs, in their higher forms are two interrelated parties to the unified thoughting process of disclosing relations, relations, with which the thought goes to more and more Deep knowledge of objective reality in its essential properties and patterns. This knowledge is committed in concepts, judgments and conclusions "(6, Fig. 1).

Fig. one. General characteristics of thinking as a mental process

Specification - This is a mental representation of something single, which corresponds to one or another concept or a general provision. We are no longer distracted by various signs or properties of objects and phenomena, but, on the contrary, we strive to imagine these items or phenomena in the considerable wealth of their signs. Essentially, the specific is always an indication of an example, any illustration of general. Concretization plays a significant role in the explanation that we give other people. In particular, it is important in the explanations given by the teacher to children. Selectance should be given serious attention. Calculate the example is not easy. In general, the thought seems clear, and it is not possible to specify a specific fact.

1. Dubrovina I.V. Psychology / I. V. Dubrovina, E. E. Danilova, A. M. Podishozhan; Ed. I. V. Dubrovina. - M.: Publishing Center "Academy", 2004. P. 176.
2. Ushshinsky K.D. Selected pedagogical works. In 2 tons. T. 2. - M., 1954. P. 361.
3. Rubinstein S. L. Basics of general psychology: in 2 t. T. I. - M.: Pedagogy, 1989. P. 377.
4. Rubinstein S. L. Basics of general psychology: in 2 t. T. I. - M.: Pedagogy, 1989. P. 378.
5. General psychology / ed. V. V. Bogoslovsky and others. - M.: Enlightenment, 1973. P. 228.
6. Rubinstein S. L. Basics of general psychology: at 2 t. T. I. - M.: Pedagogy, 1989. P. 382.

a) intuitive

b) discursive

c) analytical

d) all the answers are incorrect

7. Assumption, the draft problem solving is manifested as:

a) Intellect

b) insight

c) Euristics

d) hypothesis

8. Mysterious association of objects and phenomena for their common and essential features are known as:

a) Analysis

b) Synthesis

c) generalization

d) Classification

9. Mysterious association of objects and phenomena for their common and essential features are known as:

a) Analysis

b) Synthesis

c) generalization

d) Classification

10. Theoretical thinking as operating knowledge is expressed in:

a) Concepts

b) judgments

c) conclusions

d) all the answers are true

Topic 8. Psychology of Imagination

1. Nature and functions of imagination as a cognitive process. The originality of images of imagination.

2. Types of imagination.

3. Receptions for creating images of imagination

4. Individual differences and development of imagination

In the structure of human cognitive activity, the imagination (or fantasy) occupies a special place. With the help of this mental process, a person is able to mentally overcome the distance, transferred to the distant past and the future.

With the help of sensations, perceptions, thinking a person learns about the properties and connections of things, processes, fixing all this in memory in the form of images, thoughts. It is the images that held by memory that is the building material from which new images are formed - images of imagination.

Working on the content of the topic, it should be borne in mind that images of fantasy can be implemented, but may remain at the level of the ideal (mental). That is their originality. No living being has a fantasy, this is an exceptionally human property.

In psychology it is customary to distinguish between two types of imagination: recreation and creative.

Membership of the imagination on creative and recreating to some extent relatively, because in each of them there are elements of another. If the scientist recreates the skeleton of an ancient animal at the found bone, he not only "decrypts" the bone, but also combines, it combines the knowledge available in a new way, that is, the creativity is manifested. If the writer of the force of creative imagination creates a unique image of the literary hero, then the elements of the recreation imagination in the form of persons, paintings of nature, the interaction of characters are fully presented.

When considering the question of how to create new images, noted that all of them are, in fact, the result of analytical synthetic activity of the brain (which relates the imagination with thinking). The problem of developing imagination is partly the problem of learning how to create images of imagination: agglutination, schematization, typing, etc.

The noted methods for creating imaging images are used with a predetermined task (for example, creating a picture of the paintings on a certain topic or work of a student in the lessons of history, geography), as well as in the process of unintentional, unfinished imagination (free course of images during rest, in random situations and random occasion).

The fact is that thinking is aimed at the opening of real relations and relationships. Thinking, as it were, "pulls out" knowledge of items, phenomena. In a strict sense, logical thinking is possible when there is enough information or can be mined by various logical operations. And if this information is not enough if it is impossible for them and then it helps creative imagination. It offers missing information, when it is assisted, missed links are created, the facts are listed. These facts and the entire system serve temporarily, until the real corresponding facts and relations between them are found with the help of thinking.

It should be noted that the role of creative imagination is not the same in all areas of human activity. For example, in a scientific search, its role is somewhat less than in literary creativity, as a scientist has to deal with a greater degree of certainty than the writer.

8.1. Nature and functions of imagination as a cognitive process. The originality of images of imagination

What is imagination? Once the sensations experienced this is so changed by our nervous organization that reproducing these sensations, their copies arise in consciousness, when the originally caused their external irritation is already absent. However, no feeling can be reproduced in consciousness if it was originally caused directly irritating from the outside.

When images do not apply to any certain time and do not represent a completely accurate copy of any previous perception, we are dealing with the products of imagination in our own sense of the word.

The liveliness of the visual imagination at various people is different. Our images of the last experience may be completely different and discouraged or be unclear, inaccurate and incomplete.

In 1880, Galton collected statistical materials on this issue, which one might say was the era in descriptive psychology "he turned to a huge number of persons with a request to describe the reproduced presentation of the situation surrounding them during breakfast in some morning. Variations were very significant, and, oddly enough, it turned out that on average, outstanding scientists have a smaller power of visual reproduction compared to young, no particularly outstanding entities. (For details, see: Galton. "Study of human abilities.")

Images that operate people are not limited to the reproduction of directly perceived. In front of a person in the images can be the fact that he did not directly perceive, and what was not at all, and even something that is in such a particular form in reality and can not be. Thus, not every process flowing in images can be understood as the playback process. Actually, each image is to some extent and reproduction - at least very remote, indirect, modified - and the transformation of valid. These two tendencies of reproduction and transformation, data is always in some unity, at the same time, in their opposites, diverge with each other. And if playback is the main memory characteristic, the transformation becomes the main characteristic of the imagination. Imagine is to transform.

The creatures are effective, people not only contemplate and know, but also change the world, transform it. In order to convert validity in practice, you need to be able to convert it and mentally. This need and satisfies the imagination. Imagination is inextricably linked with our ability to change the world, effectively convert validity and create something new.

Under imagination In the broadest sense of the word, sometimes you understand every process flowing in images. In this case, the memory that reproducing images was previously perceived, it seems "only one of the types of imagination" (F. Caera, A. Selly, P. P. Blonsky, etc.). Based on this, they come to distinguish between reproductive and creative imagination and the very heart of the first with memory.

Since, on the one hand, the imagination always relies to some extent to the last experience, and on the other - the figurative reproduction usually, as the study showed, to some extent converts the reproducible, there is no connection between the imagination and shaped memory. But the existence of differences between them is no less. If you proceed from a wide understanding of the imagination as covering any mental process in images, it is because this term will turn on in this case and memory will have to make duality in terms, designate imagination in a narrower and specific sense of the word, in its difference from memory . Therefore, it is more expedient to preserve the term "imagination" to refer to this last specific process. Imagination- it will take away past experience, it transformation of thisand the product on this basis of new images that are both the products of human creative activity and the prototypes for her.

The main difference of the actual imagination against memory is associated with a different attitude to reality. Memory images are reproducing past experience. Memory function - maintain the results of past experience in possible immunity, the imagination function is to convert them.

For memory in its highest conscious manifestations, the fact that the image objectively reproducing the past is realized in this respect to it as its reproduction. This is associated with a conscious installation on the accuracy of reproduction, leading to conscious reproduction of reproduction from any arbitrary fantasy.

For imagination in those higher forms in which its specificity is fully manifested, no less characteristic is another attitude to the past experience in general and directly this is the consciousness of famous freedom towards him, which gives it possible to transform it. This freedom in relation to this means, above all, well-known psychological independence towards the past. This distinguishing of imagination and memory proceeds from the relationship, on the one hand, reproduced memory images, on the other - imagination to objective reality. But in both of these processes, one common component can be distinguished, namely the occurrence and formation of a holistic appearance, i.e. The process, product or content of which is the presentation.

Imagination in its own, very specific sense of the word can be only in humans. Only in a person who, as a subject of social practice, really converts the world, developing genuine imagination. In the process of development, it first - a consequence, and then the prerequisite of the system of human activity, through which it really changes reality. In each action, which a person changes the world, a piece of fantasy is concluded, and the development of imagination, as the transformation of reality in consciousness, is closely related to its real transformation in practice, although often immeasurably goes out of its limits.

Every imagination gives rise to something new, changes, converts what is given to us in perception. This change, transformation, deviation from this can be expressed, first, in the fact that a person, based on knowledge and relying on experience, imagined, i.e. Create a picture of what he really has never seen himself. For example, a dad message encourages our imagination to draw pictures fantastic in their unusual life on the ice, drifting from the North Pole. This is still not a specific form of imagination.

In their highest creative forms, the imagination makes deductible from reality to penetrate it deeper.

The power of creative imagination and its level are determined by the ratio of two indicators: 1) how much imagination adheres to restrictive conditions, on which the meaningfulness and objective significance of its creations depends; 2) how new and are original, are different from directly this generation. Imagination that does not satisfy both conditions simultaneously, fantastic, but creatively fruitlessly.

Images reflecting in our consciousness reality are not static, unchanged, desuneal things; They are dynamic education. It is worth the attempt to fix any image to make sure that every time it changes in our eyes, shifts, to some extent transformed: then some of his parties are on the forefront, others; Speakers at one point retreat, are stored, they go to the next one. The image is inherently labile, dynamic, every time a variable education.

The perception of reality is often converted by imagination under the influence of feelings, desires, sympathies and antipathies. These transformations then lead to distortion, and sometimes to a deeper cognition of reality.

Frequently occurring cases of such a game of imagination were repeatedly celebrated by artists. O. Balzac, for example, in "Lost Illusions" describes the first impression that Her heroine Louise is described on the hero.

"... From under Berth, a reddish-blond hair with golden plazy with the light of the curls, with flaming on curl rounders. The complexion of this notable lady was dazzling. Gray eyes glittered. The nose was with the Bourbon Gubbon, which reported a special fire to the oblongable person ... Dress, in negligent folds, opened on a snow-white breast, allowed to guess the hard and beautiful line. "

After 2-3 months in Paris, at the meeting in the theater "Lucien, finally, in her, there was something in reality, - a woman, which Parisian saw in her: Rirl, dry, freckling, faded, red, angry, high-pass , boiled, attracted, with a provincial manner of talking, and mostly dressed bad "(S.L. Rubinshtein).

The imagination under the influence of feelings sometimes in its whim arbitrarily generates the desired image, but it can and brighter to identify the genuine image of a person. When we love a person, we usually see it differently, in another, created by our feeling of lighting, which in which he seems to be different. Therefore, it happens that the image created by our imagination under the influence of feeling is essential with the actual appearance of a person. Submitting to our feeling, imagination in this case can make it a lot of bitter disappointments. The story is not one of love proceeds in the struggle between the imaginary manner, which is generated by feeling, and the real man. But it happens otherwise: the image that is indifferent - and maybe, and inoneless - the attitude towards a person on the basis of ordinary impressions, in small everyday relations, can close the authentic appearance of a person with small and insignificant strokes, and a large genuine feeling can be a powerful developer not Only the most beautiful, the most human traits in man, but moreover, it is precisely those that make up its true essence (S.L. Rubinshtein).

The imagination "penetrates" into life and human activity through a number of functions: pragmatic, psychotherapeutic, psychodiagnostic and informative (Fig.)

Pragmaticthe function is manifested in the use of real-world images generated during the imagination in the process of solving practical problems arising in various fields of people's activities. Examples of the implementation of pragmatic [the functions of the imagination can be:

The transition from fantasy on the topic "Garin Engineer" theme for the everyday reality of laser rays, which have found applications not only for destructive, but also creative purposes (telecommunications communication systems, medical equipment);

Group searches for solutions of complex problems on brainstorm technologies involving the formation of an aggregate image of imagination from fragments of individual images of imagination formed independently of each other;

An ideal image perceived by the population (firms, countries), formed by the media, based on information that was dosed on topics, sign, and according to the principle of "little to be good, should seem to them."

Advanced museum of muscle energy in athletes who are preparing for responsible international competition competitions.

Psychotherapeuticthe function is imagined by them consists in the regulation of mental processes, states, emotions and physiological processes through psychological technologies of various types. In particular, in psychoanalyzethis feature is focused on the "breakthrough" in the scope of the client's subconscious and developing "health legends" on the conscious formation of their respective imaginary images with special techniques.

Significant role of this function in psychocorrectionerroneous actions of the "phenomenon of non-fulfillment" type, allowed by experts in the performance of high-contemporary operations related to ensuring the safety of people. Errors WIND CAID due to distorted virtual images of imagination on the current states managed by the object. For example, about 30% of aircraft landings with unspecified chassis are explained by exactly the virtual representation of the bornemaker that the chassis is released, and not forgetting them to release or negligence. Being confident in the landing chassis, it does not control their condition of software (a pilot-landing alarm and ignores the chassis scoreboard (why recheck what I am sure?). In the external plan of the bornemochnik, there is a passing of a staffing operation, the inner There is no pass - he does not make that operation, since I am sure that I have already fulfilled it.

Psychocorrectionthe function is designed in the cases described above, destroy virtual images of imagination, transforming them into images of perception and representing the real states of managed objects.

The imagination performs a psychotherapeutic function and when healing disorders united by the name "Mental Attacks". The external manifestation of them - in the appearance of fear, go through the usual city bridge, go to the area, exit the house during the rain or with a clear sun, etc. These visions are opposed to images deliberately formed by the client by a psychologist.

Psychodiagnitythe function uses images of imagination as signals reflecting the properties of the person's personality and its current mental states. In this case, the tests of projective type are widely used. According to the phenomenon projection mechanisma person in his imagination is inclined to attribute their personal characteristics to other people. In other words, its psychological characteristics are reflected in the productworking of the individual. So, considering the same picture, one person sees dark colors in it, images (Vardulaks and animals), and the other is bright and beautiful flowers.

8.2. Types of imagination

In the imagination, all types and levels of identity or levels are manifested; They generate various levels of imagination. The difference in these levels is determined primarily with how consciously and the human attitude towards this process is active. At the lowest levels, the change of images occurs in gravity, involuntarily, on the highest role in it, the conscious, active attitude of a person to the formation of images is played.

In the lowest and primitive their forms, the imagination is manifested in involuntary transformation of images, which is committed under the influence of unaryantic needs, deposits, trends, regardless of any conscious intervention of the subject. Images of imagination, as it were, spontaneously transform, popling before imagination, and not formed; There is no other way here operationimages. In its pure form, such a form of imagination occurs only in limiting cases at the lowest levels of consciousness, in the dedication states, in dreams. In these cases, as usual, affective moments of needs, deposits are usually hidden as a driving force. 3. Freud attempted - very tendentious - to determine the main transformations that are subjected to images in this primitive form of imagination (thickening, displacement, substitution).

In the highest forms of imagination, in creativity, images are consciously formed and transformed in accordance with the objectives of the conscious creative activity of man.

In the first case, they speak sometimes about passivein the second - about activeimagination. The difference between "passiveness" and "activity" is nothing more than exactly the difference in the degree of intention and consciousness.

Also distinguished the imagination reproducing and creative or transforming. Any genuine imagination is transforming activities. But it can be a banal, stencil and more or less creative original conversion.

There is a further reason to distinguish the imagination, which consists in the reconstruction of the specified (for example, in the artistic text) of images and expressing in independently creating new ones, as is the case, for example, in the creative activity of the artist.

Depending on the nature of the images, which operates the imagination, differ sometimes concreteand abstractimagination.

Images that operate the imagination may be different; These can be the images of single, material, burdened with multiple parts, and images typed, generalized schemes, symbols. It is possible a whole hierarchy or a stepped system of visual images, differing from each other different in each of them the ratio of a single and general; Accordingly, there are multiple types of imagination - more specific and more abstract. The difference between the "concrete" and "abstract" imagination is the difference in the images that operate the imagination. Abstract imagination is used by the images of a high degree of generalization, generalized images - diagrams, symbols (in mathematics). Abstract and concrete imagination is not at the same time exteriorpolarity; There are many intercourse between them.

Finally, it is necessary to distinguish the types of imagination by their attitude to reality and to the activities of the fulfillment of dreams in reality. Here you have to distinguish between the lackless empty "dreamy", which serves only in order for the haze of fantasy to take off from a real case, and the effective imagination, whose dreams serve as an impetus to action and get an embodiment in creative activities.

Imagination and creativity are closely related to each other. The relationship between them, however, is not so that it is possible to proceed from the imagination as a self-sufficient function and withdraw from it creativity as a product of its functioning. The leading is the inverse relationship; Imagination is formed in the process of creative activity. Specialization of various types of imagination is not so much a prerequisite as the result of the development of various types of creative activity. Therefore, there are so many specific types of imagination, as there are specific, peculiar kinds of human activity, - constructive, technical, scientific, artistic, scenic, musical, etc. All these types of imagination, which are emerging and manifested in various types of creative activities, constitute a kind of higher Level - creative imagination.

The role of imagination in life can be quite different, depending on which the imagination is included in real activities.

Imagination As a mental transformation of reality in a figurative form can be closely connected, we said, with a change in reality, with its practical, effective conversion. Anticipating the results of our activity, a dream created by the imagination, stimulates to work on its embodiment in reality to fight for its implementation (remember that everything created by man is the realization of the dream of mankind).

But from the stimulus to the action of the dream of imagination can sometimes turn into a deputy action, reborn in that empty dreaminess, which some people like a smoke curtain are leaving from the real world and the need to change it (obcomments). The role of imagination and its nature is significantly determined by the fact that it is its products. Some find a lightweight and low-voltage satisfaction in fleeting and idle dreams, hiding behind the veil of their fantasy from a real case. Others endowed with sufficient creative forces turn the embodiment of their imagination into a real matter of creativity. Their creations are introduced into the real world as if a new dimension. In the arts created by the artistic works of art, people contemplate the transfigital, in-depth image of the world, far overlooking the limited framework of their often narrow personal existence; In practical life, they break outdated norms and really change reality.

A piece of fantasy is in every act of artistic creativity and in every genuine feeling; there is a piece of fantasy in every distracted thought rising over directly data; There is a piece of fancy and in each action that at least to some extent transforms the world; A piece of fantasy is in every person who, thoughts, feeling and acting, makes it in life at least a bit of something new, his own.

8.3. Receptions for creating images of imagination

The transformation of reality in the imagination is not a purely arbitrary change; It has its own patterns that find an expression in typical methods or transformation methods.

One of these techniques is combination, combination of datain the experience of elements in new, more or less unusual combinations. This is a very common way to convert reality. It finds use in science, in technical inventiveness; They enjoy in art, in artistic creativity. So, Tolstoy wrote that the image of Natasha, he created, taking some traits from his wife's wife, others - her sister Tanya, "Funolat" them and thus got the image of Natasha. However, it is undoubted that the main work of creating an artistic image of Natasha consisted not in the "combination" of the devil Sony and her sisters Tanya, and in the very difficult creative process, deeply reworked and essentially transforming some other features about which Tolstoy mentions, saying that He "Funolat" features both sisters. Only as a result of deep synthesis and conversion and could turn out to be such an extremely holistic image of Natasha. A special case of transformation by combining or new data combinations in the experimental elements is the so-called agglutination,which has long been widely used art. It meets, for example, in the monuments of the ancient Egyptian art and in the art of North American Indians.

Combination is usually not accidental set,but selectiondefined features. The artist produces him consciously, leading to a certain idea, an idea, a common composition. Sometimes a tendency defining and regulating new combinations of elements in the imagination, functions unconsciously; But it, as always, is, concluding in motifs that determine the activities of the imagination.

Supporters of the associative, the atomistic concept were inclined to nominate the combination as the only reception of the transformative activity of the imagination. The combination itself was reduced only to new combinations and regrouping of unchanged elements, data on experience. There is no doubt that the starting point for transformations carried out by imagination is experience. Therefore, the wider, richer, more diverse, the human experience, the more, in other things being equal conditions - his imagination will be richer. But the recognition of this dependence of imagination from experience in no way should lead to the recognition of the widespread and deeply rooted, albeit erroneous, theory, according to which the transformation carried out by imagination is reduced to combination, i.e. To move or regrouping elements. This is a purely mechanistic concept of imagination, which suggests that the elements themselves should remain unchanged, is inextricably linked with associative psychology, and its significance falls along with it. The perception of reality does not consist of bundles, ligaments or mechanical units of unchanged elements. All of its formations can be subject to transformation that makes imagination. These transformations are extremely diverse; They include combining as one of the techniques, but do not reduce it. As a result of the transformative imagination activity, since we are talking about creative imagination, it turns out not just a new combination or a combination of invariably data of elements or features, but a single new image in which individual features are not simply summarized, but are converted and summarized. The combination is only a "mechanism", the action of which is usually subject to some kind of trend that determines the selection of combined moments and makes sense.

Another technique of transforming imagination is emphasissome sides of the displayed phenomenon that transforms its overall appearance. Acquesting is an underscore. It is achieved often by shift, changes in proportions. By this reception in a more or less sharp, caricature uses: caricature reproduces the features of the original, otherwise she would not get into the one who she metrates; But she exaggesten those or other his features, otherwise she would not be a caricature. At the same time, emphasising, to be significant, should be elected characteristic, significant, should be in a visual image, in a private and concrete to identify the total.

From here there are two lines. On the one hand, the quantitative aspect of changing proportions in the sense of dimensions finds a specific expression in changing values, in reducing and increasing (lithotonsand hyperboles)which are widely used in the fantastic image of reality. So, in fairy tales, in the eponyms, in folk creativity, the warriors of unprecedented sizes and unprecedented power are usually featured (Svyatogor puts Ilya Muromets to his pocket, from his whistle leaves with trees and the earth trembles; at F. Rabl Little Gargantua, having fun Removes the bells from the Cathedral of Notre Dame and hangs on the neck of his horse, and so on; in fairy tales there is a boy with his finger). These exaggeration and accuracy, sizes and values \u200b\u200bin the fantastic image of reality are always motivated by some semantic trend. The exterior of the giant, grandiose sizes, physical strength, the magnitude of the appearance can serve in order to make a visual, obvious internal force and the significance of the hero depicted in this way. On the other hand, strongly understated compared with reality, fantasticly small external dimensions can force contrast to emphasize the large internal advantages of such a character. Just as the game is barely visible on the child, the child produces a greater impression than an objectively equal game of an adult, manifestation of the mind, intelligence, fearlessness from the child side especially striking if it seems like a boy with a finger. Thus, the deviation from reality, fantastic large or smaller sizes serve in order to eliminate and brighter to illuminate a certain phenomenon, property or side of reality.

Finally, the transformation of reality in the activities of creative imagination goes along the line typification,i.e. specific generalization. Already accentuating emphasizes and this allocates something as significant. This is just one of the ways that the single image is converted, giving it generalizedvalue. The accentuation of some features or sides of the image is combined with a number of other transformations: some features are completely lowered, as it should fall out, others are simplified, they are exempt from a number of private parts, details, complicating moments. As a result, the whole image is generally transformed.

The image of imagination is usually a visual-shaped carrier of some more or less conscious design. This role of the plan or tendency generated by the transformation is manifested in accentuating those, not otherwise, selection during combination or agglutination of such, and not other points.

Since emphasizing, typing, imagination generalizes, detecting a generalized value not in an abstract concept, but in a specific image, the trend in the imagination is naturally concluded allegoryallegoria, metaphor, metonimia, sync, symbol- to the merger of the image and value,to the use of the image in portable value.All means of expressiveness (trails, figures, etc.), which enjoys literary creativity, serve as a manifestation of the transformative activity of the imagination. Metaphors, personification, hyperbolas, antithesis, lithos are all the techniques that one or another aspect in the image is so accentuated that it is all transformed. All the main forms of the creative transformation of reality, which the literature enjoys is reflected in the processed, stylized form, those transformations that the imagination uses. The form of imagination themselves are formed and transformed in the process of literary creativity. Imagination is partly generated, partly develops, objectifying in the subject matter of its products.

Dream -this is a passive, unintentional form of imagination caused by the emotional human attitude towards experienced. The hypothesis is expressed that the dreams carry out the completion of the time of imagination, the start of the formation of which was still in a state of wakefulness. The physiological basis of the dream is also an active interaction during the phase of fast sleep of limbic, stem and neocortical formations.

The awareness and subjective experience of the dream occurs, as a rule, immediately (or within a few minutes) after the awakening of the person. In the images of a dream in the most incredible plot, objects of various nature (events, processes, items, people, animals) are intertwined as long as long as the events of the day. And all this is accompanied by sensual and emotional experiences.

It has been established that the "subject" of dreams is due to a largely individual personality characteristics of a person, his style of life, professional classes and, especially important, the state of his mental and physical health.

The last factor allowed 3. Freud to argue that in the waking state a person cannot realize himself, since it prevents his inner censorship. In a dream, this censorship is weakened, and the consciousness of a person in the form of dreams falls like a brain, which was not skipped by consciousness during the time of wakefulness. Dream images reduce tensions accumulated during the day and represent a kind of human psychological protection mechanism. This is confirmed by the well-known pattern: the more tripod and restless way of life of a person, the greater its need in a dream. Conversely, the need for a dream is reduced during periods of good mood, well-being and confidence.

8.4. Individual differences and development of imagination

Imagination has subjectivethe side associated with the individual personality characteristics of the person (in particular, with its dominant hemisphere of the brain, the type of nervous system, the characteristics of thinking, etc.). In this regard, people differ by:

The brightness of the images (from the phenomena of a clear "vision" of images to poverty of representations);

In the depth of processing images of reality in imagination (from the complete unrecognizable imaginary image to primitive differences from the real original);

According to the dominant channel of imagination (for example, on the predominance of hearing or visual imaging images).

It's believed that developthe processes of imagination South, but within the limits associated with the genotypically due to human capabilities. The development of imagination provides for its improvement on the following features:

On a variety of variety of imagination processes;

According to the originality of the images of imagination, assessed by other people;

In terms of detailing the construction of imaging images;

In terms of intellectualization of images of imagination, manifested in their mental interpretation by other people;

According to the emotionality of reactions of other people on the products of the imagination of this individual.

In some children, imagination has been manifested for 2-3 years without special training in this direction. Others even at a later age do not help special techniques. Psychologists in this regard express the hypothesis about a certain egeneityimagination. However, people who possess imagination and are occupied by creative activities, there is an improvement in the qualitative characteristics of the processes of imagination. This suggests the opportunity to develop imagination. Of course, in real life it does not cost without "surprises." So, for example, A. Einstein did not show a high level of imagination. Subsequently, he developed that sphere of scientific knowledge, where success could not be achieved without a rich imagination, the theory of relativity. By the way, the scholar himself said that more than any thinker, F. Dostoevsky helped him in his work creativity, with his unrestrained game of imagination, the desire to put his heroes into marginal psychological situations.

But from the standpoint of this approach, not everything is explained. For example, how to explain the fact that a person from the first time forever remembers the appearance of a falling comet on the dark chaise of the evening sky? Note that it can not associate it with astronomy, but only a bench, and. Soro he sits with his beloved girl this evening.

Based on physiological approachlies physiological concept reinforcements.The mark in memory remains due to conditional reflexpictures communicationbetween newand earlierfixed way. With this prerequisite for the formation of communication is reinforcement. Reinforcement means mandatory coincidencenew connection with the achievement of the goal of action.

The phenomenon of the electrical activity of the nervous system underlies physical approach.Signals perceived by man passing through neural networks, cause electrical and mechanical changes in brake and excitatory synapses(places of contact of neurons). These changes underlie the memory mechanism. Activation of the excitatory synapse causes the transmission of information to the following neuron, activation of the brake blocking of information. Such a process leads to the appearance of traces in the cerebral cortex - closing the neurons chains. In these circuits, a certain time circulates (i.e. stored) adopted information

Much in this approach remains a mystery. For example, why do various traces remain at the same signal and memory?

The presence of congenital (genetic) memory biochemical approachexplain to the processes occurring in genes. When memorizing information, the signals of the outside world cause x immicchanges in the nerve cells of the cerebral cortex, subcortical and cerebellum. The result of these changes of the nervous tissue are engrams, Mes.the felocation and the form of which correspond to the memorized information. At the same time, the processes of regrouping between the main types of neuron molecules (RNA-ribonucleic acid molecules and DNA - deoxyribonucleic acids are occurring), which determines the characteristics of long-term and short-term memory. It should be noted that the search for the location of Engramm success was not crowned

By giving tribute to all approaches, it is necessary to understand that knowledge is limitless and the current ideas about the essence of memory are not final. All approaches must be used together, in the complex, enriching knowledge due to scientific information obtained by the "cross" manner.

Glossary

Imagination - mental process, expressed: 1) in building the image of the means and the final result of the subject's subject; 2) in creating a behavior program when the problem situation is uncertain; 3) in the production of images that are not programmed, and replace activities; 4) in the creation of images corresponding to the description of the object.

Spatial views- Representations of spatial and space-time properties and relationships: the value, form, relative location of objects, their translational and rotational motion, etc. Spatial representations are the necessary element of knowledge and all practical activities, especially vocational. The degree of generalization and schematization of the spatial image depends on the nature of the spatial properties of the reflected objects, tasks of activity, as well as on the human skill to reproduce the spatial properties of objects in different graphical form (in the form of drawing, drawing, diagrams, symbolic record, etc.). By content, spatial representations are divided into representations of single objects or their images (drawing image) and (image of the radio engineering scheme, structural chemical formula, etc.). By the method of creating spatial representations differ depending on the nature of the creative activity of a person aimed at converting previously obtained images. Good development spatial representations. It is a necessary prerequisite for scientific and technical, fine-artistic, sports and many other activities related to constructive thinking and technical creativity.

Conclusions.Imagination is one of the cognitive functions characteristic of only a person. The ability to foresee the future, create a new in the real world allows you to change the activities, peace. The development of imagination is an important problem. The fact is that the imagination is not always included in the educational and industrial activity of a person. At best, creative thinking is required, but not imagination. Such a situation leads to the undevelopment of this function in an adult person (remember the flight of fantasy in a child), and as a result, depletion.

Reader on the topic

Analysis of imagination. Emotional factor

Reader in general psychology. Schedule The subject of knowledge: a training manual for students of special identities of the faculties of the psychology of higher educational institutions. - M.: Russian Psychological Society, 19998, p.478-482).

The impact of affective states on the work of the imagination notice everything and always; But it was studied predominantly moralists, which were only more likely crushed and condemned it as an inexhaustible source of errors. The point of view of the psychologist is completely different. He does not seek to find, whether the excitement and passion are bothering actions - which is undoubtedly - but examines why and how they act. But the affective factor is not inferior to any other; He presents such an enzyme, without which no creation is impossible. We study it in the main types of its views, although now we could not exhaust the whole question.

First of all, it is necessary to show that the impact of affective life is impossible that it penetrates the whole area of \u200b\u200bthe invention without any restrictions; That this is not an arbitrary assertion that it, on the contrary, is strictly confirmed by the facts, and that we have the right to put the following two suggestions:

1. All forms of creative imagination make affective elements.

This provision was challenged by authoritative psychologists, arguing that "emotion is added to imagination under its aesthetic form, but not under the form of mechanical and intellectual." In fact, it is a delusion that occurs from mixing or from inaccurate analysis of two different cases. In cases of creativity, it is not an aesthetic role of affective life, in cases of aesthetic creativity, the role of the emotional element is double.

Consider first the invention in the most general form. The affective element is primary, initial, because every invention involves the need, desire, desire, unsatisfied motivation, often even as if pregnancy, complete concerns and concerns. Moreover, it is both accompanying, that is, under the guise of joy or grief, hopes, annoyance, and anger, and so on. He accompanies all phases or crespeting creation. The creative can, by the will of the case, pass through the most diverse forms of excitement or oppression, feel despondency from failure and joy from success, finally satisfying with a happy resolution from his grave burden. I doubt the possibility of at least one example of the invention produced in abstracto.and free from any affective element: human nature does not allow such a miracle.

We now take a special case of aesthetic creativity (and approaching species). And here we find the emotional factor at the very beginning as the first engine, then as a concomitant element with different phases of creation, in the form of some additions to them. But more than thataffective states become material to create. Well known the fact that is almost a general rule that the poet, the novelist, the dramatic writer, the musician, and often even the sculptor and painter feel the feelings and passions created by their personalities, identify themselves with them. Therefore, in this second case there are two affective streams: one, component of emotion, subject of art; Another encouraging to create and developing with it.

The difference between these two cases, which we distinguished, is precisely in this, and no more, as in this. The existence of substantive emotion characteristic of aesthetic creation does not change in the physiological mechanism of the invention at all. The absence of it in other types of imagination does not eliminate the need for affective elements always and everywhere.

2. All affective locations, what would they be, can affect creating imagination.

And here I am also meeting opponents, especially Olselta-Nevin, the author of a brief and meaningful monograph on imagination. Taking the division of emotions into two classes, lunatic or exciting, and asthenic or depressing, he attributes the first exceptional privilege to influence the creation; And although the author limits his study by one of the aesthetic imagination, but even understood only in this sense, his position does not withstand critics: the facts completely refute it, and it is easy to prove that all forms of emotion, not excluding any, can be enzymes Inventions.

No one will deny that fear is a typical form of depressing or asthenic manifestations. However, does it make any ghosts, countless superstitions and religious rites, completely meaningless and chimeric?

Anger, as a kind of strong excitement, is a predominantly destruction figure, which seems to contradict my situation; But we will give a hurricane, which is always short, and we will find softened and meaningful forms in its place, representing different modifications of the initial rage that has passed from an acute state into chronic: in hatred, jealousy, deliberate mens, and so on. Is such mental arrangements are not fraught with all kinds of soda, tracking and all sorts of similar inventions? Next, if you restrict ourselves to aesthetic creation, it is enough to remember the expression: facit Indignatio Versum.(resentment generates verse).

It is useless to prove the fruitfulness of joy. As for love, everyone knows that its action is to create some imaginary being substituted into the place of the beloved subject; Subsequently, when the passion disappears, the sobbed in love turns out to face the person with nothing with the reality.

Mountain belongs to the right to the group of depressing mental movements, and however, it has a greater effect on ingenuity than anything else. Do we know that sad mood and even deep sadness delivered to poets, musicians, painters and letters the best inspirations? Is there no frank and thoughtful-pessimistic art? And such an impact is not limited to the only artistic creation. Who dares to argue that the hypochondrik or persecuted, suffering by delusional persecution, is deprived of imagination? On the contrary, their painful state is a source of strange inventions that occur incessantly.

Finally, that complex emotion called selfienessand which finally comes down to the pleasure of conscious of its strength and feel how it develops, or to sadness, that this force is suppressed and weakened, directly leads us to the basic conditions of ingenuity. First of all, there is a pleasure in this personal feeling that it is the cause, that is, creative start. And who is aware of himself able to create, feeling its superiority over the unrelated consciousness. No matter how little his invention, it gives him superiority over those who did not invent anything. And although very much it was said that the distinctive feature of the artwork is in his unborn, but must be recognized as GROS fairly noticed that the artist creates not for the sake of only the pleasure of creating, but also meaning the domination over the other minds. The work is the natural distribution of "well-being", and the pleasure accompanying is pleasure.

So, provided that you have an imagination in the full sense and not limit it illegally only aesthetics, among numerous forms of affective life there is no one that could not cause the invention. It remains to look at this emotional factor in his action, that is, how he can excite new combinations, and this leads us to the Association of Ideas.

Above it was said that idealand theoreticalthe law of surviving images is the law of complete reintegration; Such, for example, the memories of all the circumstances of a long journey, in their chronological order, without additions and omitting. But this formula expresses what should be, not what is. It suggests that the person has been brought to the state of clean inconsistency and is protected from every disturbing effect, it corresponds to quite systematic forms of memory, frozen in routine and habits, but with the exception of these cases remains an abstract concept.

This Platonic Council counteracted realand practicalthe law, in fact, the learn by the revival of images. It was thoroughly called the law of its own "benefits" or affective, so it can be formulated as follows. In any past event, only interesting parts are coming only or brighter. Under this name, there is all that pleasant or unpleasant way concerns ourselves. Note that the importance of this fact was indicated, as was to be expected, not supporters of the teachings on the Association of Ideas, but the writers are not as systematic and alien to this school - Kohlger, Sadvors, Homson, and before, Chopovenguer. James calls this law "ordinary" or a mixture of associations. Without a doubt, the "law of benefits" is less accurate than the intellectual laws of contraction and similarities; However, he apparently penetrates deeper into the region of recent reasons. Indeed, if in the question of the association to distinguish the following three circumstances: facts, laws and causes, then almost the law closer leads us to reasons.

But no matter how to look into business, this emotional factor creates new combinations through many processes.

There are cases of ordinary, simple having naturalaffective state and depending on, instant locations. They consist in the fact that the representations, accompanied by the same affective state, seek to be subsequently associated between themselves that the affective similarity connects and adapts between any of the non-submissions. This differs from the association on adjacentness representing the repetition of experience, and from the association in similarity in the intellectual sense. The conditions of consciousness are combined mutually because they were given together before, not because we perceive the relationship between them the relationship, but because they have a general affective tone. Joy, sadness, love, hate, surprise, boredom, pride, fatigue and other can be done by the centers of attraction, grouping presentations or events that have no rational relationship between them, but marked with the same emotional sign or label, for example: joyful, sad , erotic and so on. This form of the association is very often presented in dreams and in dreams, that is, in such a state of the Spirit, in which the imagination uses complete freedom and it works like it fell. It is easy to understand that this is an explicit or hidden effect of an emotional factor should contribute to the occurrence of groups, completely unexpected and represents almost a limitless field for new combinations, as the number of images having the same affective imprint is very large.

There are rare, extraordinary cases having exceptionalaffective base.

Rib T. Creative imagination. St. Petersburg., 1901. P. 23-39

Analysis of imagination. Intellectual factor

(Rib T. Creative imagination. St. Petersburg., 1901. P.11-17.)

Considered with the intellectual parties, that is, how much it binds its elements from knowledge, imagination implies two basic operations: one negative and preparatory - dissociation, and another positive and constituent - association.

Dissociation is the same as distraction or abstraction of old psychologists, very well understood its importance for the objective of us. In any case, this term "dissociation", it seems to me, it should be preferred because it is clearer. It means a genus, in which the abstraction is only a view. This is the operation of spontaneous and its property is deeper, because the abstraction in its own sense acts only on certain states of consciousness, meanwhile, as dissociation acts mainly on the ranks of the states of consciousness, which it shares, splits, decomposes, and the preliminary processing makes them capable enter new combinations.

Perception represents the operation synthetic, and however dissociation (or abstraction) is already in the form of an embryo in perception, precisely because it is a complex state. Everyone perceives in a special way, depending on its nature and impressions of the minute. The artist, an athlete, a merchant and an indifferent viewer on the same horse look every in its own way and is very different: the qualities occupying one are not commemorated to others.

Since the image is a simplification of sensual data, and its nature depends on the properties of the preceding perceptions, it is inevitably the dissociation should continue in it. But this is said little, because observation and experience show us that in most cases, the work is significantly increasing. To trace the gradual development of this decomposition, we can roughly divide images into three categories - complete, incomplete, schematic - and consistently examine them.

A group of images, called full, hugs first of all items, incessantly repeated in everyday experience: My inkwell, my wife's face, bell sound or adjacent clocks, and so on. This category also includes images of objects perceived by us a small number of times, but remaining very clear in our memory due to the side causes. Are they full of words in the strict sense? They cannot be such, and the opposite assumption is self-degree consciousness, disappearing when comparing them with reality. The idea of \u200b\u200beven less than perception is able to enter into all the qualities of some kind of subject; It represents the selection of them, changing looking at the occasion. The painter Fromanten, pounding that in two or three years he "clearly remembered" objects for which he hardly managed to take a chance to take a look at the time of travel, nevertheless the following confession: "My memories of objects, although very accurate, never It had such reliability, which one can be allowed for any recording. The more it is weakened, the more converted, becoming the property of my memory, and is better suited for use, for which I intended for. As the exact form changes, it arises from it Another, half the actual and half imaginary, which I prefer. " Note that the artist gifted by rare visual memory was so said; But the latest studies have shown that ordinary people have images that are considered complete and accurate are subject to change and delete. In this we are convinced when after some time we have the opportunity to once again observe the previous subject, if only the comparison between the actual subject and its presentation is possible. Note that in this group, the image always corresponds to private, individual subjects; In the other two groups it will not be.

Group incompletethe images, according to the evidence of the most consciousness, comes from two different sources: first, from insufficient or weak perceptions, and secondly, from the impressions produced by similar objects; If these impressions are repeated too often, they are mixed between themselves. The last case is well described by Tan. If a person running along the Alley of Topoli, he says, wishes to imagine a poplar, or, looked at the backyard, he wants to imagine a chicken, then it turns out to be in great difficulty, because his various memories are running on each other. Experience becomes the cause of the disappearance of ideas; Images, destroying each other, fall out to the state of vague aspirations, the opposite of which, in their equality, prevents them from climbing. "Images are erased from a collision between them, like bodies with friction on each other."

This group leads us to the next group of schematic images, completely deprived of individual signs: these are vague representations of pink bushes, pins, cigarettes, and so on. This is the extreme degree of poverty: the image, devoid of little-in-making characteristic of him, no more than a shadow. It became the transitional form between the presentation and the net concept, which now mean the name of the generic image, or at least approaching it.

So, the image is subjected to undercessant metamorphosis and processing in part of the elimination of one, adding the other, decomposition into parts and loss of parts. He is not something dead and does not like a photographic cliché, from which you can get an indefinite number of copies. Depending on the state of the brain, it changes as all the living, and has its acquisitions and losses, especially the loss. But each of the three above classes is useful in the image; They serve material for different types of imagination - in a particular form for the mechanic and artist, and in schematic for scientist and others.

So far, we have seen only one part of the operation of dissociation and, in fact, the smallest. We viewed the images as if individual, independent facts, such as mental atoms; But this is possible only purely theoretically. Representations are not solved from each other, in reality they constitute parts of one common chain, or better than one fabric, network, because because of their numerous ratios, they can diverge as rays in all directions. With the same dissociation acts in the same way into the ranks, distorting them, disfiguring, dismembering and turning into the ruins.

The ideal law burning law is known since the Hamilton times under the name of the "Law of Reintegration" and consists in the transition of one of the parts into all the integer, since each element seeks to reproduce the full state, and each member of the series is the entire set of series. If this law existed alone, then the image for us would never be possible; We could not be freed from repetition and would be forever prisonered Rutin. But there is some opposing force that exempt us from such a position; This force is dissociation.

Psychologists have been studying the laws of the Association so long ago, which seems rather strange why none of them engaged in research whether it also has its own laws and reverse operation, that is, dissociation. We can't, of course, here to make attempts to do this subject, as it would have come out of the framework from us, and therefore we consider it to be sufficient to indicate only in passing into two main conditions that define the dissociation of the series.

1. There are causes internal or subjective. Feeding faces, monument, paintings of nature, events - just often only private. It depends on the various conditions that enliverting essential features and forcing minor details; This essential, experiencing dissociation depends on the subjective reasons, the most important of which are primarily practical, utilitarian considerations. This is a mentioned already desire to neglect what is useless, and exclude it from consciousness. Helmholtz proved that in the act of view, some details remain unnoticed, because they are indifferent for life needs, and there are many other cases of the same kind. Secondly, these are affective reasons that guide the attention and orienting it in a well-known, exclusive direction; They will be studied in this essay afterwards. Finally, these are logical or intellectual causes, if you mean the name of mental inertia or the law of the least effort through which the Spirit is committed to simplifying or facilitating its work.

2. There are causes external or objective, what changes in these experiences. When two or more qualities or events are given, as constantly combined, they are not subjected to dissociation. Many truths (for example, the existence of antipodes) is absorbed with difficulty, because it has to break an indestructible association. One eastern king, which Sully says, refused to allow the existence of solid water, as he never had to see ice. "Any whole impression, the composite parts of which were never given to us separately experience, it is very difficult to analyze. If all the cold items were wet, and all wet cold, if all fluids were transparent, and no ugly subject would be transparent , It would be very difficult for us to distinguish cold from wet and liquid from transparent. " "Absolutely on the contrary, - he adds jams - everything comes into combination with one subject, then with another, seeks to disappear from both. This could be called the D dissociation by the concomitant changes."

To better understand the unconditional need for dissociation, we note that the restoration of the whole, reintegration, by nature is an obstacle to creativity. You can give examples of people who can remember twenty or thirty pages of the book; But when they need a famous place, they cannot immediately bring it and should start reading at first, until they reach the desired place, so this extreme ease of memorization becomes an important inconvenience. If not to talk about such rare cases, it is known that people uneducated and limited about each event are always told equally equally and invariably, where everything stands on the same plan, it is important, or no matter whether or not needed; They will not devote any details, because it is not able to make a choice. The minds that differ in such a warehouse are not capable of ingenuity.

In short, it can be said that the memory is two-way. One is quite systematic (habits; routine, poems or prose learned by heart; impeccable performance of music plays and so on.): She is like a block, unable to join new combinations. The other is not systematized, that is, composed of small groups, more or less connected among them; Such memory is plastic and is capable of new combinations.

We listed only spontaneous, natural causes of dissociation, the lower reasons are intentional and artificial, representing only the imitation of the first. The action of these different causes of images or rows are crushed, fragmented, broken, but the more so they become materials for the inventor. This work is similar in geology with that, as a result of which the new soil arises from the decomposition of old rocks.

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