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Talented people delight others. That is why they and the creative process itself are shrouded in many myths and legends. People who would like to create, but are not confident in their abilities, often think that talent is something innate. And you must first understand whether you have it before creating something. However, Daniel Coyle, in his book “The Talent Code,” cites scientific research proving that talent is the same skill that a person has practiced tens of thousands of times and eventually mastered it masterfully.
We are in website We sorted out the main stereotypes about creative people. Using the example of well-known writers, artists and musicians, we will show how masterpieces are actually created.
Myth 1. Hardship promotes creativity.
We can see what really happens to a man of art in a critical situation in the film “The Pianist.” It shows how Vladislav Szpilman, one of the most talented pianists of the 20th century, survived in Nazi-occupied Poland.
In short: a person lost his entire family, home and even the right to life. And these events did not at all contribute to his creative success.
A group of Austrian scientists conducted research proving that small doses of alcohol make a person more intelligent and original. To do this, you need to drink about 300 ml of beer or 100 ml of wine.
But increasing the dose slows down brain function and impairs mental functions. And with constant use, the effect of 300 ml will disappear. After all, a person will need a larger dose to become intoxicated, and there will be no positive effect on creativity.
What about creative geniuses? Many of them praised drinking in both life and work. However, they preferred to create sober. Stephen King wrote his quota of words during the day and turned to drinking in the evening.
Hemingway, although he loved to give advice in the style of “Write drunk, edit sober,” diligently sat down to write every day before lunch sober. Perhaps they would be happy to work while intoxicated, but the human brain does not allow even great creators to do this.
Myth 3. Drugs stimulate fantasy
Famous creative personalities loved drugs no less than alcohol. But, as with drinking, their addiction is shrouded in a halo of romanticization, and the ugly facts are erased.
Creative geniuses were at the same time ordinary addicted people and used illegal substances for the same reason as all drug addicts: to alleviate their condition. Some, like Hunter Thompson, have written artistically about their experiences with drugs. But these were not the author’s fantasies, but real hallucinations that all drug addicts experience, regardless of talent.
Simply put, drugs alone have not made a single person a creative genius. But they killed a lot of talented people.
Myth 4: A creative genius doesn’t need a regular job.
Most of the people we know became “geniuses” at a fairly mature age. Some were over 30, others over 40 or even older. All these years they (with rare exceptions) worked to support themselves, and were engaged in creativity in their spare time. For many, the work also served as a source of inspiration.
Some people think that a brilliant creator should be like Van Gogh, who lived in poverty and could not sell a single work. However, in the art world there are many more counter-examples that prove that talent can manifest itself in any conditions.
Salvador Dali custom created the Chupa Chups logo, by which this candy is still recognized all over the world. Jack Kerouac, after the success of On the Road, made money by writing and had orders for books from several publishers. The fees did not stop him from creating several more major works.
The creative profession is in some respects the same as any other: it has its own buyer and the author receives money for it. Unclaimed creativity, appreciated much later, is rather an exception.
Myth 6. Geniuses create by inspiration
For every genius, creativity is constant, systematic work. For example, JK Rowling developed the structure of the Harry Potter books, wrote the characters and actions of the characters for almost 10 years, and knew how it would all end by the time the first book was released.
Why is it difficult to create a masterpiece from inspiration? It's all about biology. When we learn something new, a neural network is created in the brain. If we regularly exercise - write, play the guitar or play football - the neurons become covered with a myelin sheath. And the more myelin around our chain of neurons, the easier and better it is for us to perform new activities.
But the shell thickens only through constant practice. That's why Constant training makes us more creative, free and original- give you the opportunity to create. If the neural network is poorly trained, we do everything slowly and poorly and remain at the level of amateurs and amateurs.
Myth 7. Talent is innate
We already wrote above that neural networks are created and strengthened only through constant training. But it's not that simple. A recent study by psychologists from Princeton proves that training alone is not enough for success.
Ultimately, those who change the established approach and traditions become more successful. There are many examples: Salvador Dali, who became a preacher of surrealism, or the Beatles, who blew up the world of rock and roll. All these people were so different from everything that came before them that they instantly went down in history.
But there is a big “but” here: a creative approach requires a base. By the time he created his masterpieces and hits, Dali already knew how to draw, and the Beatles - how to play. None of them came up with anything worthwhile in childhood, although they had creative inclinations. To change traditions, you need to understand them, and this takes time.
Myth 8. Creativity is available only to people of art
Some people feel creative in themselves, but cannot realize them because they work in a “boring” job. But really creativity is available in absolutely any profession. Teachers need to think original to get children interested in their subject. Even proper budget allocation requires some creativity if the budget is limited.
Original thinking is needed not only in art. We use it both in work and in life to find non-obvious solutions to difficult situations or simply to express ourselves.
Some people are not concerned about creativity as such, but about the bonuses that they will receive from it: fame, awards, money. We know a lot of people who really got it all thanks to talent. But what percentage do they make up of all talented and even brilliant people? Very small actually.
When we imagine ourselves in the shoes of those who have already achieved success, we make one of the common errors of systematic selection - the “survivor fallacy”. We pay attention to the winners, but ignore those who lost- remained unknown during his lifetime or was unable to support himself with creativity.
If you want to sober yourself up, read the biography of Kafka: the current literary genius was at one time an ordinary writer, worked as a clerk all his life, lived in one place and died at the age of 40. And he is far from the only genius with a boring biography. Talent is not a guarantee of a bright life; you shouldn’t hope for it.
He burned about 60 paintings.
There are many myths about talented people, but most of them are far from the truth when it comes to facts. The geniuses known to us expressed their abilities in completely different ways, had different inclinations, characters and lifestyles. All they have in common is a true passion for their work. What myths about talent prevent you from being creative?
The following are the signs that immediately precede creative insight:
“The famous artist-designer A.N. examined pre-creative states most fully. Tsybin. Let us present his judgments (personal communication, May 2006), clarified by the author of this article.
1. The main condition that ensures entry into a creative state is the creator’s loneliness. At least during the creation of works, their author must live in conditions of social deprivation. However, you need to separate from people only as from an irritant who distracts too much mental energy. It is necessary that the social background of his environment, which tonics the creator, be preserved as a slight irritant, reminding him of the theme and necessity of his work. This is exactly what the Parisian period of creativity was like E. Hemingway. He worked - wrote - in a sparsely crowded cafe at a separate table. The trouble is, if someone approached him with obsessive attention, his creative process broke down. Also A.P. Chekhov in Yalta, he protected himself from excessive communication, maintaining only social contacts that toned his creativity. Can you remember A.S. Pushkin in Mikhailovsky, P.I. Tchaikovsky at a lonely dacha near Moscow and many others.
2. The pre-creative state may benefit from a mildly confrontational background, i.e. the creator’s slight anger towards the people close to him. L.N. Tolstoy Before immersing himself in creativity, he was angry with his wife, as if she had copied his manuscript incorrectly. Translator of ancient French poems A.G. Neumann, as we learned during a psychoanalysis session with him, was angry with his wife, “without knowing why or why,” and the more acute his irritation, the more lyrical the translated poems turned out.
3. From works 3. Freud It is known that sexual stress can become a powerful precondition for creativity, sublimating into it. Sexual tension, sublimated in creativity, brings, along with inspiration, spirituality, and lust, the aggression of egoism.
4. The author’s euphoria due to his optimal bodily state can become a pre-creative state and a stimulus for creativity. A trained body (but not excessively, not for records) and general health create a feeling of slight delight for the author. However, overuse of physical strength blocks the stress of creativity. I.P. Pavlov reported that his creative spirit was facilitated by the game of small towns, in which there is a visual goal, physical tension realized in dexterity and precision of movements, and the satisfaction of victory. A. Miller He found pre-creative stress in professional physical work - he made massive furniture for his villa. V.V. Mayakovsky noted the combined sublimation in creativity of sexual power and physical strength. This happens “playfully”, i.e. without maximal expenditure of energy. The poems also reflect creative loneliness, where you need to “run in,” presumably by actively breaking through and breaking with something. The creative process is associated with the transcendence of night darkness - “until the night of the rooks” - and with the special sound of space, and with the victorious, crushing aggressiveness of the poet.
5. A great way to get creative can be eustress man in the natural environment with the beauty of its landscapes, parks, virgin forests, with the most complex variety of clouds, streams of water from rivers, streams and waterfalls, with the roar and view of the sea surf. So, I.P. Pavlov, based on the idea of two signaling systems in people, he developed for himself a way to tune in to scientific creativity. In the evening, after the bustle of the working day, looking for a long time at the artistic masterpieces on the walls of his apartment (meditating?), he, firstly, “erased” the day’s impressions in his mind, and secondly, by straining the first signaling system (figurative-artistic), he gave rest the second signaling system - verbal, discursive-logical. After this, he began scientific creativity, straining mainly his second signaling system.
6. Moderate extreme external influences (weak stressors) can tone up the creative state: cold, noise, and even things like a not always comfortable position: E. Hemingway wrote while standing at a desk (but edited what he wrote while sitting in an easy chair). Even mild hunger promotes creativity. These moderate stressors “pump up” creativity as a quasi-struggle with some enemy.
8. There are cases when intense creativity was preceded by a seemingly causeless good mood, a feeling of joy and cheerfulness. Such eustress raises the emotional tension of the author to the level necessary to turn on the process of creation.
9. The threshold to a paroxysm, an explosion of creativity, can be the author’s sudden feeling that No no sensible ideas in my head, a painful idea of myself as mediocrity and a desire to give up everything.” This one is creative distress should be regarded as a “quasi-escape” from solving a stressful problem. In reality it is involuntary relaxation. In such cases, perseverance in work is required, sooner or later it can awaken inspiration again.
10. Relaxation that awakens creativity can be intentional, such as in transcendental meditation.
11. Finally, there are many author’s quirks and magical actions that encourage creativity. V. Hugo All his life he worked at a small table, at which he wrote his first recognized work. He wrote only with crow feathers, since he was not able to create talentedly with goose feathers. M. Shahinyan“When she wasn’t peeing, she put a black stocking on her head like a cap and wrote, perched on the corner of the kitchen table among the aromas of cooking Armenian food.”
Kitaev-Smyk L.A., Factors of tension in the creative process, journal “Questions of Psychology”, 2007, N 3, p. 70-71.
Main principle humanistically oriented pedagogical innovation is to consider the object and subject of pedagogical innovation not in the traditional key of “external influences,” but from the position of the conditions for updating the education of students, which occurs with their participation.
Pedagogical innovation is aimed at fulfilling universal human tasks. The development is determined not only by the order of society and the individual to change the education system, but also by the need to provide pedagogical support for the connection between the past and the future. The connection of times is not a simple transfer of past experience to future generations; the educational process is always accompanied by the introduction of something new. Pedagogical innovation deals with changes in education, thereby performing the function of pedagogical connection of times.
Pedagogical innovation- a science that studies the nature, patterns of emergence and development of pedagogical innovations in relation to subjects of education, as well as providing a connection between pedagogical traditions and the design of future education.
From this definition follows the main target pedagogical innovation - to scientifically substantiate and ensure continuous changes in education in the interests of bringing it closer to the realized essence of the emerging person - the bearer and implementer of the cultural connection of times.
In modern education, it is customary to distinguish between two types of innovative phenomena: “ innovations in the education system" And " innovative training" The first is associated with the restructuring, modification, improvement of the education system or its individual aspects, properties and aspects, for example, with the creation of new legislative acts, models and concepts of education, forms of integration relations, etc. The second - innovative learning - is defined as a special type of learning, a product of purposeful, scientifically based activity of a new type in the educational process.
Both innovative phenomena and their corresponding activities are interconnected. For example, innovative training is one of the forms of practical implementation of normative system innovations. Conversely, large-scale systemic changes sometimes occur as a result of innovative learning systems.
The unifying concept of pedagogical innovation is innovative educational process. Others are closely related to this concept: pedagogical innovation, innovative activity, innovative environment in which innovative processes occur.
Innovation processes in education are considered, as a rule, in three main aspects: socio-economic, psychological and pedagogical And organizational and managerial. The general climate and conditions in which innovation processes occur depend on these aspects. Existing conditions (environment) can facilitate or hinder the innovation process. Existing conditions can facilitate or hinder the innovation process.
Innovation activity - a set of measures and technologies to ensure the innovation process at a particular level of education. Thus, it is characterized by targeted awareness of results, systematic design and implementation.
The objectives of pedagogical innovation are formulated in relation to its subject and goals, as well as at the interdisciplinary level.
Scientists propose three types of problems of pedagogical innovation (V.S. Lazarev and others).
1. Descriptive-explanatory tasks designed to give a picture of what actually exists at the level of theoretical explanation.
2. Tasks related to the development of new models of innovative activity, new technologies for its implementation, new forms of its organization.
3. Tasks related to the development of ways to develop systems of innovation.
Each of the three types of tasks is specified for three stages innovation process: creation, dissemination and development of innovations.
Taking into account the principle of human conformity and subjective involvement in the management of processes of subjects of education, A.V. Khutorskoy proposes to supplement this taxonomy of tasks with the following types.
4. Tasks related to the study of the system of relations that arise in innovative educational activities in relation to the personal formation and development of the student and teacher.
5. Tasks related to the nature and patterns of emergence, development of pedagogical innovations, their connection with the traditions of the past and future in relation to the subjects of education.
Pedagogical innovation has tasks not only internal, but also of a general pedagogical nature. N.R. Yusufbekova names the justification and systematization of new areas of pedagogical research as the tasks of innovation:
pedagogical theory of our time as a system of ideas and principles of organization in the context of the renewal of society, the education system and the formation of a new type of personality; as a strategic direction for the development of pedagogical science;
pedagogy of creativity, studying the issues of the formation of a creative personality in the educational process and outside it;
educational therapy in the system of preventive and compensatory pedagogy, pedagogy of borderline states and extreme situations;
peace pedagogy, studying the influence of global problems of humanity on education and aimed at cultivating thinking, new morality and new psychology that meet the realities of the nuclear-space era;
theory of educational systems, systematizing the integrative processes of teaching and upbringing, the patterns of combining social and pedagogical factors of upbringing.
Specific tasks of innovation include:
Advanced education;
Competence-based approach;
Implementation of level educational programs;
Variability and continuity of educational programs;
Integration of science and the educational process (education through the inclusion of students in the search for new knowledge and the implementation of the results of scientific activity);
Use of modern educational technologies, including information and communication technologies;
Creation of innovative scientific educational complexes and systems;
Formation of an educational innovative environment and university infrastructure;
New forms of organizing the educational process;
Implementation of internationally recognized principles for ensuring and assessing the quality of education.
In this regard, innovative educational programs of many universities have a number of features:
Focus on the experience of the world's leading universities while maintaining existing unique educational technologies;
Integration with Russian and foreign production operating under the conditions of the international division of labor;
Development of an adaptive educational system that flexibly responds to the needs of the Russian and world markets;
Introduction of information technologies and product life cycle management systems into the educational process.
Pedagogical innovation has the means to solve general pedagogical problems, although they are not only its internal matter. The following may be subject to the process of innovative transformations:
Target and conceptual block of education;
Organizational structure of the education system, educational institutions, educational authorities, system of advanced training;
Pedagogical technologies (forms, methods and technological means);
Structure and content of education;
Curricula, textbooks, electronic learning tools;
Scientific and methodological support of the educational process;
Principles of education management, quality of education;
System of monitoring, diagnostics, control and evaluation of educational results;
Economics of education, state and interstate policy in education.
Educational innovations occur at the intersection of a complex of sciences and can acquire an international, global character, which forces us to set new tasks and see the changing reality in a new way.
Methodology ped. innovations is a system of knowledge and activities related to the foundations and structure of the doctrine of the creation, development and application of pedagogical innovations.
Methodology ped. innovation is aimed at identifying a system of knowledge and corresponding types of activities that study, explain, justify pedagogical innovation, its own principles, patterns, conceptual apparatus, means, limits of applicability and other scientific attributes characteristic of theoretical teachings.
In the process of studying innovation processes in education, scientists discovered a number of theoretical and methodological problems: the relationship between traditions and innovations, the content and stages of the innovation cycle, the attitude of different education subjects to innovation, innovation management, personnel training, the basis for criteria for assessing what is new in education, etc. These problems need to be understood at the methodological level.
For a holistic theoretical understanding of ped. innovation requires identifying the main trends, contradictions, principles, laws development of innovative processes, justification methodological approaches to their study within the framework of pedagogy. innovations.
N. R. Yusufbekova in her research identifies the following trends in the field of education and the corresponding contradictions:
1. The trend towards continuity of education. It raises the need for structural and substantive renewal.
2. Increasing need for new pedagogical knowledge among teachers and other practitioners. The composition and structure of the teaching community is being updated.
3. Adoption trend. The use of the new is becoming widespread.
4. The trend towards the creation of educational school systems.
The development of educational systems of schools involves the passage of three main interconnected stages:
1) the emergence of a new pedagogical phenomenon - the educational system of the school and its theoretical understanding in new pedagogical knowledge, which in the form of theories and concepts characterizes this pedagogical innovation in its specificity;
2) mastery of innovation by the teaching community;
3) application, implementation in school practice.
Each of the three stages is distinguished by its specific contradictions and features of their resolution.
For the first stage, the contradiction is that the goal of education - the formation of a harmoniously developed personality - cannot be consistently realized in modern society with its education system.
For the second stage, the contradiction between non-systemic scientific and pedagogical thinking and the systemic class of scientific and practical problems that are posed and solved when developing the problem of the school educational system is essential.
For the third stage, the contradiction between the ready-made, existing “sample”, “model” of the educational system and the need for its use and development in the operating conditions of a particular school is significant.
I. I. Tsyrkun revealed the following patterns development of the innovation system:
1. The system develops unevenly. The development of an innovation system is dominated by the logic of culture, stochasticity over cumulativeness and rationality.
2. The determining grounds for the development of an innovation system are innovations with substantive scientific justification. They prevailed until the 70s. XX century
3. There is a certain sequence in development: first, the resources of the subject scientific substantiation are sequentially drawn out, and then a transition is made to deeper sources (didactics, psychology, cybernetics, systems approach, etc.).
4. Various didactic innovations have the property of equivalence regarding the expected effects.
5. The innovation system is dominated by modifying innovations and innovations that are focused on result values.
6. In the process of development of the innovation system, the complexity of scientific justifications increases and the frequency of appearance of modernist innovations increases.
7. Radical innovations, as a rule, are associated with the desire of innovators to achieve the goals of development and self-development of students’ personalities.
The laws of pedagogical innovations help to understand the dynamics of development and contradictions of innovative processes in the education system.
1) The law of irreversible destabilization of the pedagogical innovation environment. Any innovative process in the education system, when implemented, inevitably introduces irreversible changes into the innovative social and pedagogical environment in which it is carried out. As a result of this, holistic ideas about any pedagogical processes or phenomena begin to collapse. Such an invasion of pedagogical innovation into the social and pedagogical environment leads to polarization of opinions about it, about its significance and value. The more significant the pedagogical innovation, the more fundamental the destabilization, which affects the innovative environment of different types: theoretical, experimental, communicative and practical.
2) The law of the final implementation of the innovation process. Any innovative process sooner or later, spontaneously or consciously, is implemented and ends its existence as an innovation. The experience of V. A. Shatalov is indicative in this regard.
3) The law of stereotyping pedagogical innovations. Any pedagogical innovation tends to turn into a stereotype of thinking and practical action. In this sense, it is doomed to routinization, it becomes a stereotype, a barrier to the implementation of other innovations.
4) The law of cyclic repetition of pedagogical innovation. A characteristic feature of the education system is the repeated revival of a phenomenon or innovation in new conditions. That is why, in pedagogical theory and practice, innovations cause special opposition, since they are perceived by some teachers as “long-forgotten old things.” Examples include the notes of V. A. Shatalov, in which many do not see anything new due to the fact that they have long been used in pedagogy, as well as the communard methodology, restored in new conditions in a number of schools (for example, the school of V. A. Karakovsky).
These laws are not limited to general and specific patterns for pedagogical innovation, which have yet to be explored.
Methods of teaching mathematics and their classification
Traditional learning has a number of disadvantages. Of these, the following should be highlighted:
The predominance of verbal methods of presentation, which contribute to the dispersion of attention and the impossibility of focusing on the essence of the educational material;
Average pace of learning mathematical material;
A large amount of material that requires memorization;
Lack of differentiated tasks in mathematics, etc. The disadvantages of traditional mathematics teaching can be eliminated by improving the process of teaching it.
Method (from the Greek methodos - path of research) - a way to achieve a goal.
Teaching Method- an ordered set of didactic techniques and means with the help of which the goals of training and education are realized. Teaching methods include interrelated, sequentially alternating methods of purposeful activity of the teacher and students.
Any teaching method presupposes a goal, a system of actions, learning tools and an intended result. The object and subject of the teaching method is the student.
Any one teaching method is used in its pure form only for specially planned educational or research purposes. Usually the teacher combines various teaching methods.
Teaching method is a historical category. Throughout the history of pedagogy, the problem of teaching methods has been resolved from various points of view: through forms of activity; through logical structures and functions of forms of activity; through the nature of cognitive activity. Today there are different approaches to the modern theory of teaching methods.
Classification of teaching methods is carried out on various grounds.
By the nature of cognitive activity:
Explanatory and illustrative (story, lecture, conversation, demonstration, etc.);
Reproductive (solving problems, repeating experiments, etc.);
Problematic (problematic tasks, cognitive tasks, etc.);
Partially search - heuristic;
Research.
By activity components:
Organizational-effective - methods of organizing and implementing educational and cognitive activities;
Stimulating - methods of stimulating and motivating educational and cognitive activities;
Control and evaluation - methods of monitoring and self-control of the effectiveness of educational and cognitive activities.
For didactic purposes:
Methods for learning new knowledge;
Methods for consolidating knowledge;
Control methods.
By way of presenting educational material:
Monologues - informational and informative (story, lecture, explanation);
Dialogical (problem presentation, conversation, debate). But the forms of organization of educational activities.
According to the levels of independent activity of students. By sources of knowledge transfer:
Verbal (story, lecture, conversation, instruction, discussion);
Visual (demonstration, illustration, diagram, display of material, graph);
Practical (exercise, laboratory work, workshop. Taking into account the structure of personality:
Consciousness (story, conversation, instruction, illustration, etc.);
Behavior (exercise, training, etc.);
Feelings - stimulation (approval, praise, blame, control, etc.).
All of these classifications are considered from a didactic aspect; the subject content of mathematics is not sufficiently taken into account here, so it is impossible to reflect the entire range of methods of teaching mathematics. The choice of teaching methods is a creative matter, but it is based on knowledge of learning theory. Teaching methods cannot be divided, universalized or considered in isolation. In addition, the same teaching method may be effective or ineffective depending on the conditions under which it is applied.
New content of education gives rise to new methods in teaching mathematics. An integrated approach to the application of teaching methods, their flexibility and dynamism are required. The pedagogical classification of teaching methods separates teaching methods and learning methods. The latter, in turn, are represented by scientific (observation, analysis, synthesis, etc.) and educational (heuristic, learning from models, etc.) methods of studying mathematics.
Teaching methods - means and techniques, methods of information, management and control of students' cognitive activity.
Methods of teaching - means and techniques, ways of mastering educational material, reproductive and productive methods of teaching and self-control.
The main methods of mathematical research are: observation and experience; comparison; analysis and synthesis; generalization and specialization; abstraction and concretization.
Modern methods of teaching mathematics: problematic
(prospective), laboratory, programmed training, heuristic, construction of mathematical models, axiomatic, etc.
Let's consider the classification of teaching methods (Scheme 1).
Information and developmentmethods are divided into two classes:
1. Transmission of information in finished form (lecture, explanation, demonstration of educational films and videos, listening to tape recordings, etc.);
2. Independent acquisition of knowledge (independent work with a book, with a training program, with information databases - the use of information technology).
Problem-searchmethods: problematic presentation of educational material (heuristic conversation), educational discussion, laboratory search work (preceding the study of the material), organization of collective mental activity in small groups, organizational activity game, research work.
Reproductivemethods: retelling educational material, performing exercises according to a sample, laboratory work according to instructions, exercises on simulators.
Creative-reproductive methods: essay, variable
exercises, analysis of production situations, business games and other types of simulation of professional activities.
An integral part of teaching methods are the methods of educational\activity of the teacher and students. Methodological techniques - actions, methods of work aimed at solving a specific problem. Hidden behind the methods of educational work are the methods of mental activity (analysis and synthesis, comparison and generalization, proof, abstraction, concretization, identification of the essential, formulation of conclusions, concepts, techniques of imagination and memorization).
Modern teaching methods are mainly focused on teaching not ready-made knowledge, but activities for independent acquisition of new knowledge, i.e. cognitive activity.
Special methods are the basic methods of cognition adapted for teaching, used in mathematics itself, methods of studying reality characteristic of mathematics (construction of mathematical models, methods of abstraction used in the construction of such models, axiomatic method).
A holistic understanding of innovation processes requires the disclosure of leading trends, patterns and contradictions in their development. Among the laws of the flow of innovation processes in the literature, four laws are distinguished: the law of irreversible destabilization of the pedagogical innovation environment, the law of the final implementation of the innovation process, the law of stereotyping of pedagogical innovations, the law of cyclic repetition, i.e. returnability of pedagogical innovations. Let us briefly describe them.
The law of irreversible destabilization of the teaching environment means that any innovative process in the education system inevitably introduces destructive changes into the environment in which it is carried out. This leads to the fact that holistic ideas about any pedagogical processes or phenomena begin to collapse; a split is introduced into the system of assessments and opinions, which leads to polarization of judgments about innovation, its significance and value. As a rule, it subsequently turns out to be impossible to restore these holistic ideas, which leads to inevitable personnel or spiritual costs in the teaching community. The more significant the pedagogical innovation, the more fundamental the destabilization: communicative, theoretical, practical, psychological.
The law of the final implementation of the innovation process means that this process must sooner or later, spontaneously or consciously, be realized. Any viable innovation eventually makes its way, even if at first it appears as completely hopeless for teachers or their students, leaders or parents of students to master.
The law of stereotyping pedagogical innovations is that any pedagogical innovation, even the most revolutionary, over time turns into a banality, into a stereotype of thinking or practical action. Any innovation is doomed to become routinized and become a barrier to other innovations.
Essence law of cyclic repetition of pedagogical innovations consists in the repeated revival of innovation in different conditions. It is no coincidence that they say that everything new is a well-forgotten old (specialized education and pre-vocational training at the senior level of education).
In pedagogical reality, two types of innovation processes are distinguished. The first type is spontaneous innovations that occur without full awareness of the system of conditions and ways of their implementation. These innovations occur on an empirical basis, influenced by situational requirements. Innovations of this type include the activities of innovative teachers, parents, educators, etc.
The second type of innovation is innovation in the education system, which is the product of conscious, purposeful, scientifically cultivated activity. It is precisely such innovations that have a huge systemic effect on all components of the pedagogical process, its structure and the activities of the entire teaching community.
Basic concepts of pedagogical neology: their relationship and interrelation.
The very concept of “innovation” first appeared in the research of cultural scientists back in the 19th century and meant the introduction of some elements of one culture into another. This meaning is still preserved in ethnography.
It was only at the beginning of the 20th century that technical innovations began to be studied as a way to increase competitiveness in the market. Then the new science - innovation - examines both economic and social innovations in enterprises and organizations. At the beginning of the 20th century, a new field of knowledge took shape - the science of innovation, within which the patterns of technical innovations in the field of material production began to be studied. The science of innovation - innovation - arose as a reflection of the increased need of firms to develop and implement new services and ideas. In the 30s In the USA, the terms “innovation policy of a company” and “innovation process” have been established. In the 60-70s. In the West, empirical studies of innovations carried out by firms and other organizations are gaining momentum.
Pedagogical innovation processes have been the subject of study since the 50s in the West and since the late 80s in Russia. Programs developed by artists and musicians (B.M. Nemensky, D.B. Kabalevsky), philosophers (V.S. Bibler, G.S. Batishchev), writers and mathematicians (E.N. Ilyin, P.M. Erdniev etc.) were a channel for the penetration of new ideas that forced us to rethink the content of educational and educational programs in relation to the scale of modern culture and the requirements of social reality. In our country, the emergence and development of pedagogical innovation is associated with changes in the socio-political life of the country. Education as a subsystem of society changes along with it. Now innovation is a complex area of scientific knowledge that permeates all spheres of life. But there is still no common interpretation of the basic concepts, which causes difficulty.
In this regard, the need to understand such concepts as “innovation”, “innovation”, “innovation process”, “innovation”, “innovation activity”, etc. has become apparent.
There are many approaches to both studying and defining innovation. This is explained by the fact that neither in domestic nor in foreign science there is a generally accepted theory of innovation activity, including that a single generally accepted interpretation of the above terms has not yet been developed. The situation is further complicated by the fact that many specialists, when defining the same subject of research, use different terms.
