Creativity as an element of spiritual culture

In history there were creative epochs and creative societies, that in our schools first-graders have more pronounced creative abilities than the tenth graders, says that social, including school, conditions can be favorable and unfavorable for creative upbringing.

In the lower grades, excessive regis- tration is hampered, strict discipline, the routine regime, as a result of which the creative ability is sharply suppressed.

In the senior classes, lack of initiative, the planting of tail-ism ("like everything else, so I") and again the routine regime suppresses intellectual activity and at the same time creative productivity, which can be simplified as creative ability multiplied by intellectual activity.

In the Moscow House of Scientific and Technical Propaganda, a seminar on scientific and technical creativity recommended parents how children "eradicate" their creative productivity. This playful recommendation has quite a serious basis, as it gives an idea of what not to do. So, in order to make a non-creative personality, it is necessary to very strongly tie the child to oneself, not to allow one to play, to keep more with adults, but never take them with them to work, visiting, on business trips, leaving to the care of other adults, to develop strict regime and schedule of the day and stick to it with an accuracy of a minute, identify the child in school with an extended day and every summer for two shifts to send to the pioneer camp.

In adult life, creative productivity continues to be suppressed by routine and heavily regulated labor, persecution of innovators.

Each person has a "loneliness" norm, large or small, according to his temperament, and he must fulfill his own norm: to be alone, gather his thoughts, fantasize, communicate with his comrades, play abstract toys, cubes, buttons, nuts, turn them by his power imagination into real objects.

If the child is strongly inclined to seclusion, the teacher from time to time organizes him communication with peers and adults. If on the contrary - the child is taught to spend some time alone - with the game, with the book, with the drawing.

On this basis, proper creative education is carried out. A probabilistic-statistical attitude is grafted: do not divide everything into black and white, bad and good, wrong and correct: to strive not for the maximum, but for the optimum, making a choice from a variety of options, while losing in one and winning in another; calculate the probability of possible events, realizing that

0% and 100% - there is never a guarantee; and for this it is necessary to look into the world through the eyes of an extras. This means that there are authorities, but there are no indisputable authorities; it is impossible to divide literary heroes into absolutely positive and absolutely negative ones: a new idea is always unusual, controversial, contradictory to the old idea, and when it wins, an even new idea will appear that will contradict it and in turn win, such is the dialectic of the nature of development.

It is important for a person to develop the habit of getting up from the "fours" of current affairs, looking back, looking at things from above, connecting them with global affairs, thinking, thinking and inventing. To do this, in ordinary things, try to see the unusual: dramatically change the scale (as Swift did), impart unusual properties, place them in unusual surroundings, make them mysterious and ridiculous.

The main task of labor education and vocational guidance in particular is to form in each school student a general orientation towards conscientious creative work, to bring it to the threshold of the spiritual choice of the profession.

Let's get acquainted with the process of production and accumulation of cultural values.