An example of a Torrens test. Torrance Test “Picture Completion” (Adaptation by A.N.

Creativity can be defined as a person’s ability to create something non-standard, new, his ability to generate ideas. This is the ability to think outside the box and apply it in life.

Creative tests refer to the diagnosis of abilities, because creativity is precisely the ability to generate new things. The most important role in this process is played by individual features of perception and inductive thinking.

Guilford creativity test

In the 50s, Guilford identified 16 general cognitive creative characteristics. He paid special attention to those qualities of an individual that cannot be assessed by intellectual tests. This is fluency and flexibility of thought, originality, non-standardism.

The scientist has developed a dozen and a half tests. In them, the subject had to find a verbal answer, as well as compose it based on the drawing. These tests are intended for adults and high school students.

Psychologists believe that the low effectiveness of these tests for determining creative abilities is explained by failure to take into account personal characteristics and a focus on speed of problem solving. Williams created children's tasks to test creativity.

Torrance Creativity Test

Torrens tests are widely in demand and actively used today. They are quite similar to the brainchild of J. Guilford, and in some cases are an adaptation. The test scores were also borrowed from him. But Torrance tried to reflect in his assignments the totality and complexity of various creative processes. Their reliability and reliability are an order of magnitude higher, but they are also insufficient.

This current test allows anyone to determine their creative potential. For someone who has already taken place in creativity, for example, a musician or artist, this should be clear even without training. For others, the task is very relevant. The sum of points scored for answers will show the level of creative potential of the subject.

Bruner's method is used for diagnosis. The questionnaire allows you to determine your own type of thinking. The answer to the question asked is yes (+) or no (-). A special key has been developed to interpret the results.

The creativity test will help assess your ability to quickly and professionally solve any problems in non-standard ways. It turns out that your ability to abandon stereotypes and implement your knowledge in a new way is the path to a new life, interesting work and a successful career.

Creativity is a quality that only some people have. Assess the level of non-standard thinking of staff using the Torrance test. Read about the research and interpretation of the results in the article.

From the article you will learn:

Features of the Torrance test

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"Fluency"

Result evaluation:

"Originality"- significant index

"Abstractness of the title"

"Closing resistance"

"Elaboration" creativity

• Less than 30. Very bad.
• From 30 to 34. Less than normal.
• From 35 to 39. A little below normal.
• From 40 to 60. Norm.
• From 61 to 65. Slightly higher than normal.
• From 66 to 70. Above normal.
• More than 70. Perfect.

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From the article you will learn:

Features of the Torrance test

Recruiters are increasingly screening applicants and testing staff to determine the level of creativity. Thinking outside the box allows you to generate valuable ideas that take your business to a new level and differentiate your company’s services or products from competitors. If you want to evaluate personnel, use the Torrance test.

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The author took the concept of divergent thinking by J. Guilford as a basis and refined it. A distinctive feature is a carefully selected set of tasks, providing a person with ample opportunities to demonstrate creative abilities. This feature increases the reliability and validity of the test.

The Torrance Creativity Test is a powerful psychodiagnostic technique that requires training. It consists of several parts. They need to be done one by one. You cannot exclude individual questions or pictures, otherwise you will get unreliable results.

Torrance's creativity method identifies the verbal, sound and figurative components of thinking, helps to explore the components of creative thinking, and obtain a qualitative characteristic. The test is sensitive to originality, flexibility, fluency, the ability to resist stereotypes and see the cause of a problem.

Subtest 3: “Repeating lines”

The stimulus material of the Torrance Creative Thinking Test consists of 30 pairs of parallel lines arranged vertically. Based on pairs of lines, a non-repeating pattern is created. Explain the execution rules in detail, otherwise misunderstandings are possible, as people draw the same type of figures.

Find out all about creativity assessment in the e-zine " »

Interpretation of Torrance test results for assessing creativity

"Fluency" assessed in the second and third subtests. It characterizes a person’s productivity from the creative side. Count the total number of responses. The following drawings are considered inadequate: no stimulus material was used during creation; variants with meaningless names; abstract sketches. Do not take them into account when calculating scores when performing creativity diagnostics (Torrance test).

Result evaluation:

• If several unfinished figures in the second subtest are used to create one drawing, award the number of points that corresponds to the number of figures.
• When pairs of parallel lines in the third subtest are used to create one picture, score one point.

"Originality"- significant index creativity. The degree of originality indicates originality, unconventionality, and the peculiarity of a person’s creative thinking.

Calculate the creativity score for the three Torrance subtests in accordance with the rules:

• The score is based on the statistical rarity of a person's response ranging from 0 to 1 point.
• Only the drawing is evaluated, not its title.
• The overall score is obtained by adding up the scores for all drawings.

"Abstractness of the title"- the ability to highlight the main thing, to understand the essence of the problem. Calculate the indicator in subtests 1 and 2. Give a score from 0 to 3, calculating Torrence for creative thinking.

• 0 points: extraordinary names, simple names of 1 word.
• 1 point: simple descriptive names that express what is seen in the picture (gray house, blue river).
• 2 points: figurative descriptive names (cozy village house, picturesque blue river).
• 3 points: philosophical names that express the essence of the drawing, its deep meaning.

"Closing resistance"- reflects the ability to remain open to novelty, to postpone making a final decision for a long time in order to make a mental leap and create an original idea. Calculate the indicator only in subtest 2. Give a score from 0 to 2 points.

• 0 points: the figure is closed in the simplest and fastest way: using a curve or straight line, shading or solid shading, numbers or letters.
• 1 point: the solution is superior to the mediocre connection of the figure, and the test taker closes the figure quickly, but completes it with details from the outside later.
• 2 points: the stimulus figure is not closed, remaining an open part, or closed using a complex configuration.

"Elaboration"- reflects the ability to develop ideas in detail. Evaluated in three tests creativity Torrance, developed to diagnose the creative thinking of an employee.

• Award 1 point for each significant detail that complements the original figure. Evaluate small details of the same type together: all petals - 1 point, the core of the flower - 1 point.
• If the drawing contains many identical objects, evaluate the elaboration of one of them, but add points for others. For example: there are several identical trees in the garden, clouds in the sky, etc. Give an extra point for each significant detail of trees, flowers, birds, and another point for the idea of ​​drawing similar pictures.
• When items are repeated but have a distinctive detail, give a point for each item. For example: there are many colors, but each has its own shade - 1 point for each color.
• Rate primitive images with 0 points.

Analyze the answers to the Torrance test and calculate the results. Add up all the scores received during the assessment, then divide them by five.

• Less than 30. Very bad.
• From 30 to 34. Less than normal.
• From 35 to 39. A little below normal.
• From 40 to 60. Norm.
• From 61 to 65. Slightly higher than normal.
• From 66 to 70. Above normal.
• More than 70. Perfect.

E. P. Torrance's creativity tests are not suitable for all areas, but they are indispensable when assessing office workers, designers, marketers, etc. To get reliable results, explain correctly and in detail what your employees or candidates for a vacant position need to do.

Conclusion

If work activity involves solving unusual situations, use the Torrance test to assess the eccentricity of employee thinking. Keep in mind that it is better to invite an expert than to misinterpret the results. Do not overestimate your own strengths, because this test is not an easy option for testing personnel.

Diagnosis of the level of creative potential of an individual

using the E. Torrance test

“Creativity means digging deeper, looking better, correcting mistakes, talking to a cat, diving into the deep, walking through walls, lighting up the sun, building a castle in the sand, welcoming the future.”

P. Torrens

INTRODUCTION: CREATIVITY AS AN INDICATOR OF GIFTEDNESS

Determining a child’s giftedness is a complex task, in solving which it is necessary to use both the results of a psychological examination and information about the child’s school and extracurricular activities obtained by interviewing parents, teachers and peers. Only such an integrated approach to diagnosis is recognized by all scientific concepts, while the question of the structure and factors of development of giftedness remains debatable.

Numerous psychological studies have changed the initial ideas about a high IQ (intelligence quotient) as the only criterion for outstanding achievements, demonstrating the critical role of creativity and the personal sphere, interests and special abilities, as well as environment and training as conditions for the development of giftedness.

In most scientific concepts, giftedness and the prerequisites for its development are associated with the creative capabilities and abilities of the child, defined as creativity. Creativity can manifest itself in thinking, communication, and certain types of activities. It can characterize the personality as a whole and (or) its individual abilities.

A person’s creative capabilities are not directly and directly related to his ability to learn; they are not always reflected in intelligence tests. On the contrary, creativity can be stimulated not so much by the diversity of existing knowledge as by receptivity to new ideas that break established stereotypes. Creative solutions often come at a moment of relaxation, diffused rather than intense attention, although prepared by a previous persistent search. An example of such an “insight” is the discovery by D.I. Mendeleev of the periodic table of elements in a dream after 15 years of persistent and intense work.

An important stage in the psychodiagnostics of human creativity was the work of the American psychologist J. Guilford, who identified two types of thinking: convergent (sequential, logical, unidirectional) and divergent (alternative, deviating from logic). Most psychodiagnostic tests of creativity are focused on identifying abilities for divergent thinking. These tests do not require a specific number of answers. There are no right or wrong solutions, the degree of their compliance with the idea is assessed, and the search for non-trivial, unusual and unexpected solutions is encouraged and stimulated.

Among the creators of theories and tests of creativity for children, the most famous is another American psychologist who devoted his entire life to this problem. This is Paul Torrens. Research on creativity was started by him in 1958, but long before that it was prepared by his practical work as a teacher and psychologist with gifted children and adults.

CREATIVITY was defined by P. Torrance as the process of the emergence of sensitivity to problems, lack of knowledge, their disharmony, inconsistency, etc.: fixation of these problems; searching for their solutions, putting forward hypotheses; testing, changing and re-testing hypotheses; And. finally, formulating and communicating the result of the decision (1974). In order to more accurately define what creativity is, Torrance examined at least about fifty formulations.

As a result, he settled on defining creativity as a natural process that is generated by a person’s strong need to relieve tension that arises in situations of uncertainty or incompleteness. Considering creativity as a process makes it possible to identify both creative abilities and the conditions that enable and stimulate this process, as well as evaluate its products (results).

CREATING CREATIVITY TESTS

P. Torrance tests were developed in connection with educational problems as part of a long-term research program aimed at creating methods for working with students that would stimulate their creativity. When creating tests, the author sought to obtain models of creative processes that reflect their natural complexity. But the main goal of the research by P. Torrance and his colleagues was to prove the reliability and predictive validity (validity) of creative thinking tests.

These studies, lasting 7, 12 and 22 years, led to improvements in the original versions of the 1958-1966 tests. towards increasing their reliability and validity, diversity of indicators (versions 1974, 1979, 1984).

In addition, the following characteristics were identified to evaluate the creative achievements of those who demonstrated high test scores:

1) the number of achievements in the natural and human sciences, art, organizational activities (leadership) during school, determined by the test subject himself according to a list of 25 types;

2) a similar indicator of achievement after leaving school;

3) an indicator of a creative lifestyle (determined by the subject himself according to a list of 22 types of creative behavior);

4) assessment of creative achievements by independent experts;

5) expert assessment of professional plans.

In the longest longitudinal study, P. Torrance studied the relationship between test indicators of creativity in primary schoolchildren and each of the above indicators of their creative achievements 22 years later. All correlations (connections) turned out to be highly reliable. The multiple correlation coefficient of the day of all five criteria reached 0.63, which indicates a significant relationship between the studied indicators even with such a long period of time between examinations.

However, high scores on creativity tests in children did not at all guarantee their creative achievements, but only indicated a high probability of their manifestation.

In order to explain the role of creative abilities in understanding, predicting and developing creativity, P. Torrens proposed a model of three partially intersecting circles corresponding to creative abilities, creative skills and creative motivation. A high level of creative achievement can only be expected when all three of these factors coincide.

In other words, in the absence of creative motivation (striving for something new, commitment to a task, etc.), a high level of creative abilities cannot guarantee creative achievements either in art, or in science, or in other types of activity, even with full mastery of the latest technologies. Conversely, the presence of appropriate motivation and mastery of the necessary knowledge and skills in the absence of creative opportunities cannot lead to a creative result, providing only performing skills.

Important conditions for the creative realization of gifted children are also, firstly, support for their hobbies from adults, secondly, the level of their intellectual abilities, and thirdly, experience of living and studying in other countries (early acquisition of foreign languages).

The first position was confirmed in studies conducted by scientists from different countries. For example, even teenagers who consider independence a necessary condition for the stability of their hobbies emphasize the importance of support for their interests (“but without pressure”) from their parents. At the same time, the stability of children’s interests and extracurricular hobbies is an important, but often ignored, characteristic of their creative productivity.

Like P. Torrens, most psychologists include among the mandatory signs of giftedness the intellectual development of a child above the average age level, since only this level provides the basis for creative productivity. At the same time, a combination of an above-average level of intelligence development with a high level of creative thinking is considered more favorable for the forecast of the development of giftedness and creative achievements than even a very high level of development of only one of these aspects.

And finally, observations of gifted children have demonstrated the beneficial effect on their development of early exposure to various types of behavior, speech, and learning, which contributes to the formation of a more versatile view of the world, a more flexible approach to problems, and the actualization of various forms of self-expression.

BRIEF CHARACTERISTICS OF P. TORRENCE TESTS

Torrance tests are intended to be used for the following purposes:

research on the development of student giftedness;

individualization of education in accordance with the needs of gifted children and its organization in special forms: experimentation, independent research, discussions;

development of correctional and psychotherapeutic programs for gifted children with learning problems;

assessment of the effectiveness of programs and teaching methods, educational materials and manuals: tests allow you to monitor changes in the abilities themselves, and not just the final results of training;

search and identification of children with hidden creative potential not detected by other methods.

The tests are grouped into verbal (verbal), visual (figural, drawing), sound and motor batteries, reflecting various manifestations of creativity in terms of fluency (speed), flexibility, originality and elaboration of ideas and suggest the use of such batteries in general in survey practice. Selective use of only one or a few tests from these batteries significantly reduces the effectiveness and value of diagnosis. Detailed guidelines for testing and quantitative data processing have been developed for each form.

All tasks are intended for children aged from kindergarten to graduation.

When creating the tests, special attention was paid to making them interesting and attractive for children of all ages. Therefore, to ensure reliable results, the environment during testing is very important, which should in no case be tense or nervous. It is necessary to ensure full contact between the experimenter and the children, a climate of trust and safety, encouragement of imagination and creative freedom. In this case, you cannot give Direct instructions: what is right and what is wrong, but it is very important to achieve a complete understanding of the instructions.

The most widely used are verbal and figure tests.

VERBAL TESTS include seven tasks of 5 - 10 minutes each. each and take a total of 45 minutes.

Exercise "Ask and Guess" - this is one of the clearest models of creative thinking, aimed at identifying curiosity, sensitivity to the new and unknown, and the ability to make probabilistic forecasts. When performing it, you need to ask questions to a picture depicting a situation, try to guess what preceded this situation (its causes) and what will happen in the future (consequences). Curiosity is expressed in the number and quality of questions that reflect the subject's ability to go beyond the situation depicted in the picture, and the development of hypotheses about the causes and consequences of events simulates scientific creativity.

Exercise "Toy Improvement" - one of the most complex and revealing observations. It arouses great interest among children and has a high degree of validity.

Exercise "Unusual Use" - modification of the well-known Guilford test. In this task, it can be difficult for subjects to overcome rigidity - to get away from trivial answers. Rigidity is manifested in the fact that the subject is fixed on only one method of action, for example, he suggests using boxes only in their usual function: as containers in which objects can be placed.

Exercise "Unusual Questions" - presents a variant of the first task, but with a stronger emphasis on the unusualness of the questions.

Exercise "Incredible situations" requires imagination and imagination. The subject is faced with an incredible situation and must imagine possible ways out of it. Although this task is one of the most impressive, many children find it impossible to complete.

FIGURE TESTS consist of three tasks, each of which takes 10 minutes to complete, i.e. 30 minutes. total.

"Draw a Picture" task ~ an original test of using a specific element as a starting point for creating a picture. This element is a colored spot, the shape of which resembles fairly ordinary objects. The artistic level of drawings is not assessed in the tests; the most important thing is the idea.

The task "Unfinished figures," was constructed by the author from several other tests. It is known from Gestalt psychology that unfinished figures evoke a desire to complete them in the simplest way. Therefore, in order to create an original answer, it is necessary to counteract this desire. All ten figures differ from each other, but impose certain stable images.

The “Repeating Figures” task is similar to the previous one, but the stimulus material represents the same figures, so the subject must constantly overcome the rigidity of thinking and put forward a variety of ideas.

For most cases of diagnosing creative thinking, it is recommended to base your judgment on the analysis of individual indicators of the verbal and figurative test batteries in their relationship with each other. Under this condition, a fairly versatile characterization of individuality can be obtained. But the total score on each scale or on both scales together gives a fairly stable index of overall creative potential, which can be useful. The reliability of such a summary indicator is higher, since the same person can show his potential in the total number of answers without their detail, and in the careful development of a small number of ideas, and in coming up with a few, but highly original solutions.

CREATIVITY INDICATORS

FLUENCY (speed, productivity) reflects the ability to generate a large number of ideas, expressed in words or drawings, and is measured by the number of results that meet the requirements of the task. Productivity may vary between batteries and between different jobs within the same battery.

This indicator is useful primarily because it allows you to understand other indicators. Impulsive, trivial and even stupid answers can lead to a high score on this scale. However, such responses result in low scores on flexibility, originality, and elaboration. Low fluency values ​​can be associated with the detailed development of answers in drawing tasks, but can also be observed in inhibited, inert or insufficiently motivated subjects.

FLEXIBILITY measures the ability to come up with a variety of ideas, move from one aspect of a problem to another, and use a variety of problem-solving strategies. It is sometimes useful to evaluate this indicator in relation to fluency, since the same diversity indicator can be observed with a different total number of ideas generated.

Low flexibility scores may indicate rigidity (viscosity) of thinking, low awareness, limited intellectual development, or low motivation. High scores suggest opposing characteristics, but extremely high flexibility may reflect the subject's shifting from one aspect to another and an inability to maintain a consistent line of thinking.

The interpretation of this indicator is the same in verbal and nonverbal tests, but its meanings may not be the same. Flexibility in views and actions with images is not associated with the ease of changing aspects in the verbal sphere.

ORIGINALITY characterizes the ability to come up with ideas that differ from the obvious, banal or firmly established. Those who score high on originality are usually characterized by high intellectual activity and non-conformity. They are capable of making large mental leaps or cutting corners when searching for a solution, but this does not mean impulsiveness; originality of solutions implies the ability to avoid obvious and trivial answers.

When analyzing, it can be interesting to correlate the indicator of originality with indicators of fluency and elaboration. In this case, a wide variety of combinations can be discovered.

It should be borne in mind that extremely high originality of answers can be observed in some mental or neurotic disorders. Therefore, the need for a comprehensive examination should once again be emphasized.

The indicator of DEVELOPMENT, detailing of ideas is used only to evaluate figure tests, but many researchers consider it quite useful. High values ​​of this indicator are typical for students with high academic performance, for those who are capable of inventive and constructive activity.

Because tasks are time-limited, it can be useful to correlate this measure with fluency. A person who develops every idea in detail obviously sacrifices their quantity. Elaboration of responses appears to reflect a different type of productivity in creative thinking and can be either an advantage or a limitation, depending on how it manifests itself.

The difference between the two aspects of creativity can be represented, on the one hand, as creativity in the field of creating new ideas and, on the other hand. - as creativity in their development - the creation of new industries and activities. Thus, an inventor (Thomas Edison, Nikola Tesla) proposes an original way to solve a technical or other problem, and an entrepreneur (Henry Ford, Lee Iacocca) actually implements it and finds a market application for it. The crew members of a racing car also distribute tasks among themselves: the navigator outlines a way to pass the track, that is, solves the problem theoretically, and the pilot overcomes obstacles in practice.

Individual characteristics of students can be assessed by comparing data from verbal and figure tests. Children who score low on verbal scales and high on figurative scales often have difficulty on intelligence tests and in school, although some teachers intuitively classify them as gifted. Among children who are more educated and perform well in school, the opposite cases are often found: high levels of creativity in the verbal sphere and low levels of creativity in the visual-figurative sphere.

In addition to tests, special questionnaires and questionnaires with lists of situations, feelings, and behaviors characteristic of creative people can be used to determine creativity. These questionnaires can be addressed both to the subject himself and to the people around him. To analyze creative achievements, expert assessments are usually used: scientists - for scientific works, artists - for paintings and drawings, engineers - for technical inventions. The standards for such assessments are always based on public judgment.

SHORT TEST. FIGURE FORM

The task “Finish the drawing” is the second subtest of the figurative battery of tests of creative thinking by P. Torrance.

The test can be used to study the creative talent of children, from preschool age (5-6 years old) to high school (17 - 18 years old). Test takers must give answers to the tasks of these tests in the form of drawings and captions. If children cannot write or write very slowly, the experimenter or his assistants should help them label the drawings. In this case, it is necessary to strictly follow the child’s plan.

PREPARATION FOR TESTING

Before presenting the test, the experimenter must read the instructions completely and carefully consider all aspects of the work. The tests do not allow any changes or additions, as this changes the reliability and validity of the test indicators.

It is necessary to avoid the use of the words “test”, “exam”, “check” in all explanations and instructions. If the need arises, it is recommended to use words: exercises, drawings, pictures, etc. During testing, it is unacceptable to create an anxious and tense atmosphere of an exam, testing, or competition. On the contrary, one should strive to create a friendly and calm atmosphere of warmth, comfort, trust, encourage the imagination and curiosity of children, and stimulate the search for alternative answers. Testing should be carried out in the form of an exciting game. This is very important for the reliability of the results.

It is necessary to provide all students with test items, pencils or pens. Everything unnecessary should be removed. The experimenter must have instructions, a test sample, and a watch or stopwatch.

Large groups of students should not be tested simultaneously. The optimal group size is 15-35 people, i.e. no more than one class.

For younger children, the group size should be reduced to 5 - 10 people, and for preschoolers it is preferable to conduct individual testing. During testing, the child must sit at the table alone or with an experimenter's assistant.

Test execution time is 10 minutes. Along with preparation, reading instructions, handing out worksheets, etc., 15 to 20 minutes should be allotted for testing.

When testing preschoolers and primary schoolchildren, experimenters must have a sufficient number of assistants to help them write captions for pictures.

Before handing out worksheets, the experimenter must explain to the children what they will be doing, arouse their interest in the tasks, and create motivation for them to complete them. To do this, you can use the following text, which allows various modifications depending on specific conditions:

“Guys! I think that you will get great pleasure from the work ahead of you. This work will help us find out how well you can invent new things and solve different problems. You will need all your imagination and ability to think. I hope that you will give space to your imagination and you will like it."

If the figure test needs to be repeated, this can be explained to students as follows:

“We want to know how your creativity, imagination, and problem-solving have changed. You know that we measure our height and weight at certain intervals to find out how much we have grown and gained weight. We do the same thing to see how your abilities have changed. We are going to measure them today and some time later. It's important that this is an accurate measurement, so try your best."

INSTRUCTIONS FOR TEST TASKS

After preliminary instructions, you should distribute sheets of tasks and make sure that each subject indicates the last name, first name and date in the appropriate column. (You should not forget to indicate the date; this is important when conducting repeated tests.) Preschoolers and primary schoolchildren need help in indicating this information. In this case, it will be better if you enter the data in advance and distribute the sheets with the columns already filled out for the children.

After these preparations, you can begin reading the following instructions:

"You will have to complete exciting tasks. All stumps will require your imagination to come up with new ideas and combine them in different ways. With each task, try to come up with something new and unusual that no one else in your group (class) can come up with. Then try to complement and complete our idea so that you get an interesting story-picture.

The time to complete the task is limited, so try to use it well. Work quickly, but take your time. If you have any questions, silently raise your hand and I will come to you and give the necessary clarifications."

The test task is formulated as follows:

"On these two pages there are unfinished figures drawn.

If you add additional lines to them, you will get interesting objects or plot pictures. You have 14 minutes to complete this task.

Try to come up with a picture or story that no one else can come up with. Make it complete and interesting, add new ideas to it. Come up with an interesting name for each picture and write it below the picture."

If students are worried that they will not finish an assignment on time, reassure them by telling them the following:

“I noticed” that you all work differently. Some people manage to draw all the drawings very quickly, and then return to them and add some details. Others manage to draw only a few, but from each drawing they create very complex stories. "Continue to work the way you like best, the way that's most convenient for you."

If the children do not ask questions after the instructions, you can proceed with the task. If the instructions raise questions, try to answer them by repeating the instructions in words that are more understandable to them. Avoid giving examples or illustrations of possible sample answers! This results in a decrease in originality and, in some cases, in the overall number of responses. Strive to maintain a friendly, warm and relaxed relationship with your children.

Although the instructions indicate that the activities have two pages, some children miss this fact and do not discover the second page. Therefore, you should specifically remind children about the second page with tasks. It is necessary to monitor the time very carefully using a stopwatch.

After 10 minutes, the tasks stop and the sheets are quickly collected. If the students were unable to write names for their drawings, find out these names from them immediately after testing. Otherwise, you will not be able to reliably evaluate them.

For this, it is convenient to have several assistants, which is especially important when testing younger children.

* These instructions must be presented strictly according to the text, without allowing any changes. Even minor modifications to the instructions require re-standardization and validation of the text.

MEASUREMENTS AND PROCESSING OF RESULTS

An important condition for high test reliability is a careful study of the test indicator evaluation index and the use of the given standards as the basis for judgments.

MEASUREMENT PROCEDURES

1. Read the manual. You must be clearly aware of P. Torrance's concept of creative thinking: the content of indicators of fluency, flexibility, originality and thoroughness in developing ideas as characteristics of this process.

2. First, you should determine whether the answer is worth counting, that is, whether it is relevant to the task. Those answers that do not correspond to the tasks are not taken into account. Answers that do not fulfill the main condition of the task - to use the original element - are considered irrelevant. These are those answers in which the subject's drawing is in no way connected with the unfinished figures.

3. Processing responses. Each relevant idea (i.e., a drawing that includes the original element) should be assigned to one of the response categories. Lists of categories are given on p. 30 - 37 of this manual. Using these lists, determine response category numbers and ORIGINALITY scores. Write them down in the appropriate boxes.

If the originality of the answers is scored 0 or 1 point, the category of answers can be determined according to list No. 1 given on p. 30 - 34. This list includes the least original answers for each of the test figures. For more original answers (with originality 2 points), list No. 2 has been compiled (pp. 35 - 37). This list contains categories common to all test figures.

Then the points for the DEVELOPMENT of each answer are determined, which are entered in the column reserved for these indicators of task completion (see table on p. 43). Indicators of the categories of originality and elaboration of answers are recorded in the form, on the line corresponding to the figure number. Omissions (absence) of answers are also recorded there.

4. The FLUENCY score for a test can be obtained directly from the last answer number if there were no omissions or irrelevant answers (see table on page 43). Otherwise, you should count the total number of responses taken into account and write this number in the appropriate column. To determine the FLEXIBILITY score, cross out duplicate response category numbers and count the remaining ones. The total score for ORIGINALITY is determined by adding all the points in this column without exception. The total indicator of DEVELOPMENT of answers is determined in a similar way. CHECKING THE RELIABILITY OF MEASUREMENTS.

From time to time, it is recommended to compare the data from your own processing of tests with the data from processing the same tests by a more experienced experimenter. All inconsistencies should be identified and discussed. It is recommended to calculate correlation coefficients between the indicators obtained by two researchers when processing 20 - 40 protocols. Another way to check reliability is to re-run the experimental materials by the same researcher after one or more weeks. When using processing forms, these types of controls will not take much time. TEST SCORING INDEX.

The index (see table p. 39) includes data obtained for 500 students in Moscow schools in 1994. The age of the subjects ranged from 6 to 17 years.

Fluency. This indicator is determined by counting the number of completed figures. The maximum score is 10.

FLEXIBILITY. This indicator is determined by the number of different response categories. To determine the category, both the pictures themselves and their names can be used (which sometimes does not coincide). Below is list #2, which includes 99% of the answers. For those responses that cannot be included in any of the categories on this list, new categories should be used and designated "XI". "X2", etc. However, this will be required very rarely.

ORIGINALITY. The maximum score is 2 points for non-obvious answers with a frequency of less than 2%, the minimum is 0 points for answers with a frequency of 5% or more, and 1 point is counted for answers occurring in 2-4.9% of cases. Data on the category assessment and the originality of the answer are given in list No. 1 for each figure separately. Therefore, it is advisable to begin interpreting the results using this list.

Bonus points for originality of answer. The question always arises about assessing the originality of answers in which the subject combines several original figures into a single drawing. P. Torrance considers this a manifestation of a high level of creativity, since such answers are quite rare. They indicate unconventional thinking and deviation from the generally accepted. The instructions for the test and the separateness of the original figures in no way indicate the possibility of such a solution, but at the same time they do not prohibit it. P. Torrens considers it necessary to award additional points for originality for combining the original figures into blocks:

for combining two drawings............................................... 2 points,

for combining three to five drawings.................................... 5 points,

for combining six to ten drawings.......................... 10 points.

These bonus points are added to the total originality score for the entire assignment.

DEVELOPMENT. When assessing the thoroughness of developing responses, points are given for each significant detail (idea) that complements the original stimulus figure, as within the boundaries of its contour. and beyond. Wherein. however, the basic, simplest answer must be significant, otherwise its elaboration is not assessed.

One point is given for:

Every significant detail of the overall answer. In this case, each class of parts is assessed once and is not taken into account when repeated. Each additional detail is marked with a dot or cross once.

Color. if it complements the main idea of ​​the answer.

Special shading (but not for each line, but for the general idea) - shadows, volume, color.

Decoration if it has meaning in itself.

Each variation of design (except for purely quantitative repetitions) that is significant in relation to the main answer. For example, identical objects of different sizes can convey the idea of ​​space.

Rotating the drawing by 90" or more, unusual angle (view from the inside, for example), going beyond the scope of the larger part of the drawing.

Every detail in the title is beyond the bare minimum.

If a line divides the drawing into two significant parts, count the points in both parts of the drawing and sum them up. If a line represents a specific item - a seam, a belt, a scarf, etc., then it is scored 1 point.

Below are three examples of scoring for elaboration of answers. You should study them carefully.

LIST No. 1. Answers to the task indicating category numbers and scores for originality*

(24) Abstract pattern (37) Face, human head (1) Glasses (8) Bird (flying), seagull

1 point (from 2% to 4.99%)(10) Eyebrows, human eyes (33) Wave, sea (4) Animal (muzzle) (4) Cat, cat (21) Obchako, cloud (58) Supernatural creatures (10) Heart (“love”) (4) Dog (8) Owl (28) Flower (37) Human, man (31) Apple

About points (5% in more answers)(24) Abstract pattern (64) Wood and its details (67) Slingshot (28) Flower

1 point (from 2% to 4.99%)(41) Letter: Ж, У, etc. (13) House, building (60) Sign, symbol, pointer (8) Bird: footprints, legs (45) Number (37) Person

0 points (5% or more answers)(24) Abstract pattern (53) Sound and radio waves (37) Human face (9) Sailing ship, boat (31) Fruits, berries

1 points (from 2% to 4.99%)(21) Wind, clouds, rain (7) Balloons (64) Tree and its parts (49) Road, bridge (4) Animal or its face (48) Carousels, swings (68) Wheels (67) Bow and arrows ( 35) Moon (27) Fish, fishes (48) Sledge (28) Flowers

About points (5% or more answers)(24) Abstract pattern (33) Wave, sea (41) Question mark (4) Snake (37) Human face (4) Animal tail, elephant trunk

1 point (from 2% to 4.99%)(4) Cat, cat (32) Armchair, chair (36) Spoon, ladle

(4) Mouse (38) Insect, caterpillar, worm (1) Glasses (8) Bird: goose, swan (27) Shell (58) Supernatural creatures (1) Smoking pipe (28) Flower

(24) Abstract pattern (36) Dish, vase. bowl (9) Ship, boat (37) Human face (65) Umbrella

1 point (from 2% to 4.99%)(33) Pond, lake (47) Mushroom (10) Lips, chin (22) Basket, basin (31) Lemon, apple (67) Bow (and arrows) (33) Ravine, pit (27) Fish (25) Egg

About points (5% or more answers)(24) Abstract pattern (15) Staircase, steps (37) Human face

1 point (from 2% to 4.99%)(33) Mountain, rock(36) Vase(64) Tree, spruce (19) Jacket, jacket, dress(66) Lightning, thunderstorm (37) Person: man, woman(28) Flower

(24) Abstract pattern (18) Car (36) Key (62) Sickle

1 point (from 2% to 4.99%)(47) Mushroom (36) Ladle, ladle (43) Lens, magnifying glass (37) Human face (36) Spoon, ladle (62) Hammer (1) Glasses (18) Scooter (60) Symbol: hammer and sickle (48) Tennis racquet

About points (5% or more answers)(24) Abstract pattern (37) Girl, woman (37) Human: head or body

1 point (from 2% to 4.99%)(41) Letter: U, etc. (36) Vase (64) Tree (11) Book (19) T-shirt, latier (2) Rocket (58) Supernatural beings (28) Flower (67) Shield

About points(5% more answers)(24) Abstract pattern (33) Mountains, hills (4) Animal, its ears (41) Letter M

1 point (from 2% to 4.99%)(4) Camel(4) Wolf(4) Cat, cat (4) Fox(37) Human face

(4) Dog (37) Human: figure

About points (5% or more answers)(24) Abstract pattern (8) Goose, duck (64) Tree, spruce, twig (37) Human face (4) Fox

1 point (from 2% to 4.99%)(63) Pinocchio (37) Girl (8) Bird (58) Supernatural beings (45) Numbers (37) Man, figure

(18) Car: passenger car, racing car, truck, cart, trolley, tractor.

(3) Angels and other divine beings, their details, including wings.

(1) Accessories: bracelet, crown, wallet, monocle, necklace, glasses, hat.

(20) Clothesline, cord.

(41) Letters: single or in blocks, punctuation marks.

(7) Balloons: single or in a garland.

(39) Kite.

(33) Geographical features: coast, waves, volcano, mountain, lake, ocean, beach, river, cliff.

(34) Geometric shapes: square, cone, circle, cube, rectangle, rhombus, triangle.

(64) Tree: all types of trees, including Christmas fir and palm.

(49) Road and road systems: road, road signs and indicators, bridge, intersection, overpass.

(4) Animal, its head or face: bull, camel, snake, cat, goat, lion, horse, frog, bear, mouse, monkey, deer, pig, elephant, dog.

(5) Animal: tracks.

(53) Sound waves: tape recorder, radio waves, radio receiver, walkie-talkie, tuning fork, TV.

(65) Umbrella.

(63) Toy: rocking horse, doll, cube, puppet.

(62) Tools: pitchfork, rake, flares, hammer, axe.

(46) Stationery and school supplies: paper, cover, folder, notebook.

(11) Book: one or a stack, newspaper, magazine.

(68) Wheels: wheel, rim, bearing, tire, steering wheel.

(50) A room or parts of a room: floor, wall, corner.

(22) Container: tank, can, barrel, bucket, tin can, jug, hat box, box.

(9) Ship, boat: canoe, motor boat, cutter, steamer, sailboat.

(12) Box: box, package, gift, bundle.

(54) Space: astronaut.

(16) Bonfire, fire.

(23) Cross: Red cross, Christian cross, grave.

(40) Ladder: extension, stepladder, ladder.

(2) Aircraft: bomber, glider, rocket, airplane, satellite.

(32) Furniture: sideboard, wardrobe, bed, armchair, desk, table, chair, ottoman.

(43) Mechanisms and instruments: computer, lens, microscope, press, robot, miner’s hammer.

(44) Music: harp, drum, accordion, bell, sheet music, piano, piano, whistle, cymbals. (6) Balls: basketball, tennis, baseball, volleyball, dirt balls, snowballs. (59) Land transport - see Automobile, do not introduce a new category.

(38) Insect: butterfly, flea, praying mantis, caterpillar, beetle, bug, ant, fly, spider, bee, firefly, worm.

(35) Celestial bodies: Ursa Major, Venus, lunar eclipse, star, Moon, meteorite, comet, Sun.

(21) Cloud, cloud: different types and shapes.

(39) Footwear: boots, felt boots, boots, slippers, shoes.

(19) Clothing: trousers, long johns, jacket, men's shirt, coat, jacket, dress, robe, shorts, skirt.

(67) Weapons: rifle, bow and arrows, machine gun, cannon, slingshot, shield.

(48) Recreation: bicycle, skating rink, ice slide, parachute tower, swimming board, roller skates, sled, tennis.

(29) Food: bun, cupcake, candy, lollipop, flatbread, ice cream, nuts, cake, sugar, toast, bread.

(66) Weather: rain, raindrops, snowstorm, rainbow, sun rays, hurricane.

(36) Household items: vase. hanger, toothbrush, saucepan, ladle, coffee maker, broom, cup, brush.

(8) Bird: stork, crane, turkey, chicken, swan, peacock, penguin, parrot, duck, flamingo, chicken.

(26) Entertainment: singer, dancer, circus performer.

(47) Plants: thickets, bushes, grass.

(27) Fish and sea animals: guppies, goldfish, whale, octopus.

(58) Supernatural (fairy-tale) creatures: Aladdin, Baba Yaga, demon, vampire, witch. Hercules, devil, monster, ghost, fairy, devil.

(42) Lamp: magic lantern, lamp, candle, street lamp, lantern, electric lamp.

(60) Symbol: badge, coat of arms, banner, flag, price tag, check, emblem.

(52) Snowman.

(57) Sun and other planets: see Celestial bodies.

(55) Sports: running track, baseball field, horse racing, sports field, football goal.

(13) Structure: house, palace, building, hut, kennel, skyscraper, hotel, pagoda, hut, temple, church.

(15) The building, its parts: door, roof, window, floor, wall, pipe.

(14) Construction material: board, stone, brick, slab, pipe.

(17) Reed and products made from it.

(51) Shelter, shelter (not a house): canopy, trench, tent, awning, hut.

(31) Fruits: pineapple, orange, banana, fruit bowl, cherry, grapefruit, pear, lemon, apple.

(28) Flower: daisy, cactus, sunflower, rose, tulip.

(45) Numbers: alone or in a block, mathematical signs.

(61) Clock: alarm clock, hourglass, stopwatch, sundial, timer.

(37) A person, his head, face or figure: a girl, a woman, a boy, a nun, a man, a certain person, an old man.

(56) Stick Man: See Man.

(8) Man, parts of his body: eyebrows, hair, eye, lips, bone, legs, nose, mouth, hands, heart, ear, tongue.

(25) Egg: all types, including Easter, fried eggs.

INTERPRETING TEST RESULTS

1. Fluency or productivity. This indicator is not specific to creative thinking and is useful primarily because it allows you to understand other indicators of CTTM. The data shows (see Table I) that the majority of children in grades 1-8 complete between seven and ten tasks, and the majority of high school students complete between eight and ten tasks. The minimum number of completed tasks (less than 5) is most often found in adolescents (grades 5-8).

2. Flexibility. This indicator assesses the diversity of ideas and strategies, and the ability to move from one aspect to another. Sometimes it is useful to correlate this score with a fluency score, or even to calculate an index by dividing the flexibility score by the fluency score and multiplying by 100%. Let us recall that if a subject has a low indicator of flexibility, then this indicates the rigidity of his thinking, a low level of awareness, limited intellectual potential and (or) low motivation.

3. Originality. This indicator characterizes the ability to put forward ideas that differ from the obvious, well-known, generally accepted, banal or firmly established.

Those who receive high values ​​of this indicator are usually characterized by high intellectual activity and non-conformity. Originality of solutions presupposes the ability to avoid easy, obvious and uninteresting answers.

Like flexibility, originality can be analyzed in relation to fluency using an index calculated in the manner described above.

4. Elaboration. High values ​​of this indicator are typical for students with high academic performance, capable of inventive and constructive activity. Low - for lagging, undisciplined and careless students. The indicator of the elaboration of answers reflects a different type of thinking fluency and in certain situations can be both an advantage and a limitation, depending on how this quality manifests itself.

Table 1

Average values ​​of CTTM indicators for students of different classes*

To compare indicators of creative thinking (originality and elaboration), it is necessary to convert them into a standard T-scale. This will make it possible to compare the results obtained from the K1TM and the P. Torrens figure test of creative thinking (see Table 2).

Table 2.

Converting “raw” indicators to T-scale.

T-scale values ​​of 50 ± 10 correspond to the age norm.

Empirical research was carried out with a group of secondary school teachers and students of advanced training courses.

Number of subjects: 20 people. Age from 23 to 48 years. Various specialties.

To determine the level of creativity, the graphic and verbal subtests of the P. Torrance creativity test were used.

After diagnostics using the graphic subtest, the following results were obtained:

The norm for adults is: on the originality scale: 10.5; on the development scale: 40.5 (see: Shpalinsky V.V. Psychology of Management: Textbook. 2nd ed. - M., 2003. - 184 pp. - P.68.

Verbal subtest data. The subjects are asked to complete 7 tasks. When summing up, the result of all seven tasks is divided by 7. The resulting number is an indicator of creativity.

Criteria: 1-2 points – low result; 3-4 points – the result is below average; 5 points – average; 6 points – above average; 7 points – high; 8-9 points is a very high score.

Torrance developed his tests in the course of educational and methodological work on developing the creative abilities of children Torrance E.P. Guiding creative talent - Englewood Cliffs, W.J.: Prentice-Holl, 1964. P. 62. His program included several stages. At the first stage, the subject was offered verbal tasks to solve anagrams. He had to identify the only correct hypothesis and formulate a rule leading to a solution to the problem. Thus, convergent thinking was trained (according to Guilford).

At the next stage, the subject was offered pictures. He had to develop all the probable and improbable circumstances that led to the situation depicted in the picture and predict its possible consequences.

Then the subject was offered various objects. He was asked to list possible ways of using them. According to Torrance, this approach to ability training allows a person to be freed from externally imposed frameworks, and he begins to think creatively and outside the box. By creativity, Torrance understands the ability to heightened perception of shortcomings, gaps in knowledge, disharmony, etc. He believes that the creative act is divided into the perception of a problem, the search for a solution, the emergence and formulation of hypotheses, the testing of hypotheses, their modification and finding a result. The ideal test, according to Torrence, should test the progress of all of these operations, but in reality, Torrence limited himself to adapting and reworking the methods of the University of Southern California for his own purposes. Ibid. pp. 66-71..

Torrance argued that he did not seek to create a factor-pure test, so individual test scores reflected one, two, or more of Guilford's factors (ease, flexibility, originality, accuracy).

The Torrance battery includes 12 tests, grouped into three series: verbal, visual and audio, diagnosing, respectively, verbal creative thinking, visual creative thinking and verbal-audio creative thinking. Ibid. pp. 88-90..

1. The verbal scale includes seven tasks. In the first three tasks, the subject must ask questions in such a way that the answers received will help him guess the content of the mysterious images. The subject must write down all the questions to which he would like to receive an answer, list all the possible causes and consequences of the situations shown in the figure. In the 4th task, ways to use the toy in the game are recorded. The 5th task lists possible ways of using ordinary objects in unusual ways. In the 6th task, questions are asked about the properties of the same objects, and in the 7th task the subject must talk about everything that can happen if any implausible situation arises. The ease, flexibility and originality of the answer are assessed.

The pictorial scale consists of three tasks. The first task is that the subject must draw a picture on a white sheet of paper using a given figure. In the second task, the subject is asked to complete a few lines to create meaningful images. In the third task, the subject is asked to make as many pictures as possible using a pair of parallel lines or circles. Lightness, flexibility, originality, accuracy are assessed.

The verbal-sound scale consists of two tasks, which are presented by playing a tape recording. The Sounds and Sights test uses familiar and unfamiliar sounds as stimuli. In the second task, “Onomatopoeia and Images,” onomatopoeic words are used to imitate the sounds inherent in an object (animal, mechanism, etc.). The test taker must write down what these sounds are like. The originality of the answer is assessed.

The reliability of Torrance tests is very high: from 0.7 to 0.9. Verbal tests are more reliable than visual ones. Ibid. pp. 100-101..

Unlike the Guilford tests, the Torrance tests are designed for a wider range of ages, from preschoolers to adults.

Factor analysis of Torrance tests revealed factors corresponding to the specificity of tasks, and not to the parameters of ease, flexibility, accuracy and originality. The correlations of these parameters within one test are higher than the correlations of similar parameters of different tests Tunik E.E. Diagnosis of creativity. E. Torrance test: Method. management. St. Petersburg, 1998. pp. 20-22..

Let's consider the characteristics of the main parameters of creativity proposed by Torrance. Ease is assessed as the speed of completing test tasks, and, therefore, test norms are obtained similar to the norms of tests of speed intelligence. Flexibility is measured as the number of switches from one class of objects to another during the course of responses. The problem lies in dividing the test taker's responses into classes. The number and characteristics of classes are determined by the experimenter, which creates arbitrariness. Originality is assessed as the minimum frequency of occurrence of a given answer in a homogeneous group. In Torrance tests, the following model is adopted: if the subject’s answer occurs in less than 1% of cases, then it is scored 4 points, if the answer occurs in less than 1-2% of cases, the subject receives 3 points, and so on. When an answer occurs more than 6% of the time, a score of 0 is assigned. Thus, originality assessments are “tied” to the response frequencies given by the standardization sample. Experience in using Torrance tests shows that the influence of the characteristics of the group in which the norms were obtained is very large, and transferring norms from a standardization sample to another (even similar) sample produces large errors, and is often simply impossible Torrance E.P. Guiding creative talent - Englewood Cliffs, W.J.: Prentice-Holl, 1964. P. 112..

Accuracy in Torrance tests is assessed by analogy with intelligence tests. Originality and fluency are closely correlated: the more answers, the more original they are, and vice versa.

The success of these tests is determined by the speed of the psyche, and critics rightly point to the influence of speed intelligence when solving tests that, according to their developers, diagnose creativity. Research by Torrance and Guilford found a high positive correlation between IQ level and creativity level. The higher the level of intelligence, the more likely it is that the subject will have high scores on creativity tests, although individuals with highly developed intelligence may also have low scores on creativity. Meanwhile, with a low IQ, high divergent productivity is never detected. Torrance even proposed a theory of the intellectual threshold. He believes that with an IQ below 115-120 points (average plus standard deviation), intelligence and creativity are indistinguishable and form a single factor. With an IQ above 120, creativity and intelligence become independent factors. Ibid. pp. 156-157..

At the same time, the correlations between creativity and intelligence are higher if testing in both cases uses similar material (verbal, numerical, spatial, etc.), and lower if the material of tests of intelligence and creativity is heterogeneous.

At first glance, these results are consistent with the hypothesis of partial creativity. Perhaps creativity as a general property does not exist, it is determined only in relation to this or that material and, contrary to Torrance’s opinion, is based not on general intelligence, but on “partial” intellectual factors, such as spatial intelligence, verbal intelligence, mathematical intelligence and etc. (according to Thurstone).

So, the E. Torrance test is one of the best standardized instruments in world psychological practice for measuring creative thinking.

The test allows you to evaluate:

* verbal creativity;

* imaginative creativity;

* individual creative abilities: fluency, flexibility, originality, the ability to see the essence of the problem, the ability to resist stereotypes.

Psychology of creativity, creativity, talent Ilyin Evgeniy Pavlovich

P. Torrance Creative Thinking Test

This test was first proposed by the American psychologist P. Torrance in 1962. The test is intended to diagnose creativity starting from preschool age (5–6 years). Complicated options can be used in other age groups (up to 1720 years). The main task that P. Torrens set himself was to obtain a model of creative processes that reflects their natural complexity.

This method is based on the ability for divergent thinking (D. Guilford), for transformation and association, the ability to generate new ideas and develop them.

Twelve Torrance tests of creative productivity are grouped into verbal, visual, and auditory batteries. The first is designated as verbal creative thinking, the second is figurative creative thinking, the third is verbal-sound creative thinking.

P. Torrance's creative thinking test suggests the possibility of various options and modifications. Recently, many different adapted modifications of this test have appeared (A. M. Matyushkin, N. V. Shumakova, E. I. Shelbanova, N. P. Shcherbo, V. N. Kozlenko, E. E. Tunik, A. E. Simanovsky, T. A. Barysheva). Below is the “classic version” of the P. Torrance test.

Preparing for testing

The following aspects of performance must be considered before presenting the test.

1. Tests do not allow any changes or additions. Even small “improvisations” in instructions require re-standardization and validation of the test. You should also not increase the test execution time, since the normative data presented in the manual corresponds to the specified time limit.

2. During testing, it is necessary to create a favorable emotional atmosphere. The use of the words “test”, “check”, “exam” must be avoided, since an anxious, tense environment blocks freedom of creative expression. Testing takes place in the form of an exciting game, interesting tasks, in an environment that encourages children’s imagination and curiosity, and stimulates the search for alternative answers.

3. The optimal group size is 15–35 subjects. For younger children, group sizes should be reduced to 10–15 people, and individual testing is preferable for preschoolers.

4. Time to complete the curly form of the test is 30 minutes. Taking into account preparation, reading instructions, possible questions, you need to allocate 45 minutes for testing.

5. If the instructions raise questions from the children, answer them by repeating the instructions in words that are more understandable to them.

Examples and illustrations of possible sample answers should be avoided. This leads to a decrease in originality and, in some cases, in the number of responses.

Verbal creative thinking

Verbal booklet "A"

Tasks 1–7

Instructions. I invite you to complete exciting tasks. They all require your imagination to come up with new ideas and combine them in different ways. When completing each task, try to come up with something new and unusual that no one else can come up with. Then try to complement your idea so that you get an interesting story-picture.

The time to complete each task is limited, so try to use it well. Work quickly, but take your time. Try to think of ideas. If you manage to completely complete the task before the command about the expiration of time, sit quietly and wait until permission is given to everyone to proceed to the next task. If you do not have time to complete a task within the allotted time period, proceed to the next one according to the general command. If you have any questions, silently raise your hand and I will come to you and provide the necessary clarification.

The first three tasks will be related to the picture you see (Fig. 1). These tasks allow you to find out whether you know how to ask questions and make guesses about certain events, their causes and consequences.

Look at the picture and think: what happened? What can you say with confidence looking at this picture? What else do you need to know to understand what happened, why it happened and how it could end?

Rice. 1

Task 1. Ask questionsInstructions. Write all the questions that you can think of based on this picture (this and subsequent tasks are accompanied by a blank sheet of paper on which question numbers from 1 to 23 are written in a column). Ask all the questions necessary to understand what happened. Don't ask questions that can be answered by looking at a picture. Look at the picture as much as you want.

Task 2. Guess the reasonsInstructions. Try to find and write down as many reasons as possible for the event shown in the picture. You can start from those events that could have happened before the moment depicted in the picture, or long after it. Don't be afraid to speculate.

Task 3. Guess the consequencesInstructions. List as many possible outcomes of the event shown in the picture as possible. Write about what might happen immediately after the event, or what might happen in the distant future.

Task 4. Results of improvement

Instructions. You see a sketch (sketch) of a soft toy - an elephant (Fig. 2). Think about how you can change this toy elephant to make it more fun for children to play with. Write the most interesting and unusual ways to change it.

Rice. 2

Task 5. Unusual methods of consumption (cardboard boxes) Instructions. Most people throw away empty cardboard boxes, but these boxes can have thousands of interesting and unusual uses. Come up with as many interesting and unusual ways of using it as possible. Don't limit yourself to just the uses you've seen or heard about.

Task 6. Unusual questionsInstructions. This task requires you to come up with as many questions as possible about cardboard boxes. These questions should invite a wide variety of answers and attract interest to other boxes. Try to come up with the most unusual questions about the properties of cardboard boxes that usually don’t come to mind.

Task 7. Let's imagine

Instructions. Imagine this incredible situation: there are ropes attached to the clouds that hang down to the ground (Fig. 3). What's happened? Think about what possible events this will lead to, what consequences could there be? Make as many guesses and assumptions as possible. Write down your thoughts and guesses.

Rice. 3

Fine creative thinking

Subtest 1. Draw a picture

Test material: a) an oval figure (Fig. 4) made of colored paper. The color of the figure can be any, but of such saturation that it is possible to draw details not only outside, but also inside the outline; b) a blank sheet of paper; c) glue; d) colored pencils.

Rice. 4

Instructions. You received a figure made of colored paper and glue. Come up with any picture of which this figure would be a part. It can be any object, phenomenon or story.

Using glue, place this shape on a blank sheet of paper wherever you like. And then complete it with pencils to get the picture you intended.

Try to come up with a picture that no one else could come up with. Add new details and ideas to your drawing to make it the most interesting and captivating story possible.

When you finish the drawing, come up with a title for it and write it at the bottom of the sheet. Make this name as unusual as possible. Use it to better tell the story you've created.

Start working on your drawing, making it different from others and writing the most complex and interesting story possible.

Subtest 2. Finish the drawing

Test material: a) a simple pencil; b) a test form consisting of ten squares, which depict graphic contours of various shapes (Fig. 5).

Rice. 5

Instructions. Unfinished figures are drawn on these sheets. If you add lines to them, you will get interesting objects or plot pictures. Try to come up with pictures or a story that no one else can come up with. Make it complete and interesting, add new ideas to it. Come up with an interesting title for each picture and write it at the bottom of the picture. (If children are upset about not being able to finish a task on time, say this: “You all work differently. Some people manage to draw all the pictures very quickly, and then go back to them and add details. Others manage to draw only a few, but from each drawings create very complex stories. Continue to work the way you like best, the way that is most convenient for you.") After ten minutes, turn off the stopwatch and stop working.

Subtest 3. Lines

Instructions. Build as many objects or plot pictures as possible from each pair of lines (Fig. 6). These lines should form the main part of your painting. Use a pencil to add lines to each pair to complete the picture. You can draw between the lines, above the lines, around the lines - anywhere.

Rice. 6

Make up as many objects or pictures as possible. Try to make them as interesting as possible. Label each picture with a title.

After ten minutes the task is terminated. If the children were unable to write the names for their drawings, ask them for the names immediately after testing.

Diagnostics of verbal-sound creative thinking consists of two tests conducted using tape recording.

In the first test - “Sound and Images” - familiar and unfamiliar sounds are used as acoustic stimuli for recognition and association (natural, synthetic and musical sounds are used).

The second test - “Onomatopoeia and Images” - contains various words, intonations reminiscent of various meaningful signs (creaking, crackling), imitating natural sounds inherent in some object, musical intonations, intonation complexes modeled on a synthesizer.

In both tests, the subject, after listening to a sound recording, writes what a particular sound is like. When answering, complete freedom is given to the child’s imagination.

Sound sequences are presented four times.

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