Creativity tests. Test “Determination of creative abilities The simplest test for creativity

19.10.2023

There are a huge number of different methods of psychodiagnostics of human creative abilities. The most popular of them is the Torrens test.

Creativity according to Torrance (from the Latin creatio - creation) is sensitivity to tasks, deficits and gaps in knowledge, the desire to combine diverse information; creativity identifies problems associated with disharmony of elements, searches for their solutions, puts forward assumptions and hypotheses about the possibility of solutions; tests and refutes these hypotheses, modifies them, double-checks them, and finally substantiates the result.

E. Torrance developed 12 tests grouped into a verbal, visual and auditory battery. The nonverbal part of this test, known as the “Figural forms of the Torrance Test of Creative Thinking”, was adapted at the Research Institute of General and Educational Psychology of the Academy of Pedagogical Sciences in 1990. Another part of the test, “Complete Figures,” was adapted in 1993-1994 in the laboratory for diagnosing abilities and PVC at the Institute of Psychology of the Russian Academy of Sciences.

The E. Torrance figure test we bring to your attention is intended for adults, schoolchildren and children over 5 years old. This test consists of three tasks. Answers to all tasks are given in the form of drawings and captions.

The time for completing a task is not limited, since the creative process presupposes the free organization of the temporary component of creative activity. The artistic level of execution in the drawings is not taken into account.

Torrance creativity test, diagnostics of creative thinking:

Instructions - description for the Torrance test, stimulus material:

Subtest 1. “Draw a picture.”

Draw a picture, using a colored oval spot cut out of colored paper as the basis of the picture. The color of the oval is chosen by you. The stimulus figure has the shape and size of an ordinary chicken egg. You also need to give your drawing a title.

Subtest 2. “Completing the figure.”

Complete the ten unfinished stimulus shapes. And also come up with a name for each drawing.

Subtest 3. “Repeating lines.”

The stimulus material is 30 pairs of parallel vertical lines. Based on each pair of lines, it is necessary to create some kind of (non-repeating) pattern.

Processing the results.

Processing the results of the entire test involves assessing five indicators: “fluency”, “originality”, “elaboration”, “resistance to closure” and “abstractness of names”.

Key to the Torrance test.

"Fluency"- characterizes a person’s creative productivity. Evaluated only in subtests 2 and 3 in accordance with the following rules:

1. For assessment, it is necessary to count the total number of answers (drawings) given to the test taker.

2. When calculating the indicator, only adequate responses are taken into account.

If a drawing, due to its inadequacy, does not receive a “fluency” score, then it is excluded from all further calculations.

The following drawings are considered inadequate:

· drawings in the creation of which the proposed stimulus (an unfinished drawing or a pair of lines) was not used as an integral part of the image.

· drawings that are meaningless abstractions with meaningless names.

· Drawings that are meaningful but repeated several times are counted as one answer.

3. If two (or more) unfinished figures in subtest 2 are used to create one picture, then the number of points corresponding to the number of figures used is awarded, since this is an unusual answer.

4. If two (or more) pairs of parallel lines in subtest 3 are used to create one picture, then only one point is awarded, since one idea is expressed.

"Originality"- the most significant indicator of creativity. The degree of originality indicates the originality, uniqueness, and specificity of the creative thinking of the test taker. The “originality” indicator is calculated for all three subtests in accordance with the rules:

1. The originality score is based on the statistical rarity of the answer. Common, frequently occurring answers are scored 0 points, all others are scored 1 point.

2. The drawing is evaluated, not the title!

3. The overall score for originality is obtained by adding up the scores for all drawings.

List of answers with 0 points for “originality”:

Note: If the answer “human face” is given in the list of unoriginal answers and the corresponding figure is turned into a face, then this drawing receives 0 points, but if the same unfinished figure is turned into a mustache or lips, which then become part of the face, then the answer is scored 1 point.

· Subtest 1 - only the object that was drawn on the basis of a colored glued figure is assessed, and not the plot as a whole - a fish, a cloud, a cloud, a flower, an egg, animals (entirely, torso, muzzle), a lake, a face or a human figure.

· Subtest 2. - please note that all unfinished figures have their own numbering, from left to right and top to bottom: 1, 2, 3, ..10.

1. - number (numbers), letter (letters), glasses, human face, bird (any), apple.

2. - letter(s), tree or its parts, face or human figure, panicle, slingshot, flower, number(s).

3. - number (numbers), letter (letters), sound waves (radio waves), wheel (wheels), month (moon), human face, sailing ship, boat, fruit, berries.

4. - letter(s), waves, snake, question mark, human face or figure, bird, snail (worm, caterpillar), animal tail, elephant trunk, number(s).

5. - number (numbers), letter (letters), lips, umbrella, ship, boat, human face, ball (ball), dishes.

6. - vase, lightning, thunderstorm, step, ladder, letter(s), number(s).

7. - number (numbers), letter (letters), car, key, hammer, glasses, sickle, scoop (bucket).

8. - number(s), letter(s), girl, woman, face or human figure, dress, rocket, flower.

9. - number (numbers), letter (letters), waves, mountains, hills, lips, animal ears.

10. - number (numbers), letter (letters), fir tree, tree, twig, bird beak, fox, human face, animal muzzle.

· Subtest 3: book, notebook, household appliances, mushroom, tree, door, house, fence, pencil, box, human face or figure, window, furniture, dishes, rocket, numbers.

"Abstractness of the title"- expresses the ability to highlight the main thing, the ability to understand the essence of the problem, which is associated with the mental processes of synthesis and generalization. This indicator is calculated in subtests 1 and 2. The assessment occurs on a scale from 0 to 3.

· 0 points: Obvious names, simple titles (names) stating the class to which the drawn object belongs. These names consist of one word, for example: “Garden”, “Mountains”, “Bun”, etc.

· 1 point: Simple descriptive names that describe specific properties of drawn objects, which express only what we see in the drawing, or describe what a person, animal or object is doing in the drawing, or from which the names of the class to which the object belongs are easily deduced - “Murka” (cat), “Flying seagull”, “New Year tree”, “Sayans” (mountains), “The boy is sick”, etc.

· 2 points: Figurative descriptive names “Mysterious mermaid”, “SOS”, names describing feelings, thoughts “Let’s play”...

· 3 points: abstract, philosophical names. These names express the essence of the drawing, its deep meaning: “My echo”, “Why leave from where you will return in the evening.”

"Closing resistance"- reflects “the ability to remain open to novelty and diversity of ideas for a long time, to postpone making a final decision long enough to make a mental leap and create an original idea.” Calculated only in subtest 2. Score from 0 to 2 points.

· 0 points: the figure is closed in the fastest and easiest way: using a straight or curved line, solid shading or painting, letters and numbers also equals 0 points.

· 1 point: The solution is superior to simply closing the figure. The test taker quickly and simply closes the figure, but then completes it with details from the outside. If details are added only inside a closed figure, then the answer is 0 points.

· 2 points: the stimulus figure does not close at all, remaining an open part of the picture, or the figure closes using a complex configuration. Two points are also assigned if the stimulus figure remains an open part of a closed figure. Letters and numbers - 0 points respectively.

"Elaboration" - reflects the ability to develop invented ideas in detail. Evaluated in all three subtests. Evaluation principles:

· 1. One point is awarded for each significant detail of the drawing that complements the original stimulus figure, while details belonging to the same class are scored only once, for example, a flower has many petals - all petals are considered as one detail. For example: a flower has a core (1 point), 5 petals (+1 point), a stem (+1), two leaves (+1), petals, core and leaves are shaded (+1 point) total: 5 points for the drawing.

· 2. If the drawing contains several identical objects, then the elaboration of one of them is assessed + another point for the idea to draw other similar objects. For example: there may be several identical trees in the garden, identical clouds in the sky, etc. One additional point is given for each significant detail of flowers, trees, birds and one point for the idea to draw the same birds, clouds, etc.

· 3. If items are repeated, but each of them has a distinctive detail, then you must give one point for each distinctive detail. For example: there are many colors, but each has its own color - one new point for each color.

· 4. Very primitive images with minimal “elaboration” are scored 0 points.

Interpretation of test results Torrance .

Add up the scores for all five factors (fluency, originality, abstractness of title, resistance to closure, and elaboration) and divide the sum by five.

The result obtained means the next level of creativity according to Torrance.

Many people want to find out how creative and intellectually developed they are in relation to the people around them. This can be done using various tests, one of which is the Torrance test for creative thinking.

This test is very simple. It consists of three stages, adapted for people of any age, starting from 5 years. Naturally, if you want to know your relative result, you need to test several people your age. Previously, we told you about other tests that can also tell you the level of your creativity.

Torrens test

Stage one: draw a picture. In this case, you will need an oval similar in size to a chicken egg. Its color can only be determined by you, but it is better that it be the same for all subjects. In this regard, the easiest way would be to take white color by making an oval from plain paper.

The subject must draw something in the oval so that the oval turns into something concrete thanks to your addition. You definitely need to give this drawing a title. You can draw whatever comes to your mind. Test time is 1 minute.

Stage two: associative thinking. Based on the table below, you need to do the following. Complete each picture as you see it and give it a title. Test time - 3 minutes.

Stage three: regular thinking. Print the picture below again. For each identical element (in this case, a pair of horizontal circles), it is necessary to add something unique to make something original, meaningful and understandable. Roughly speaking, drawings and their interpretations should not be repeated. There can be 30 drawings in total. Test time: 5 minutes.

Scoring

Creativity is assessed in 5 stages: productivity, originality, thoughtfulness, openness, logic.

Productivity. Evaluated in stages 2 and 3. Count the total number of the subject's answers - how many pictures he completed, the number of points he will receive. The point is not counted if:

the original part of the drawing was not used;
if there is no meaning in the picture or its title;
repetitions.

Originality. Evaluated on all three test items. The most important thing here is that any of your drawings are not repeated. If there are statistical data, there are a lot of varieties of the test, so offer it to many people so that you have something to compare with. That is why first try to give this test to at least 40-50 people, so that you can then see your results. Based on all tests, the same drawings are selected. This is not difficult to do if you conduct the test in a classroom where all subjects are sitting together and are in equal conditions.

Each original answer is worth one point. Originality is determined as follows: if at least 50% of the subjects have a drawing from any task, then it is no longer original. All other options are considered original and give you 1 point. If no one else has a picture and name like yours, then this gives you 5 points right away. If there are more than 100 subjects, then you will receive 10 points for an original answer.

Thoughtfulness. For each thoughtful drawing in any of the last two tests, 1 point is given. The thoughtfulness lies in the presence of not only contour drawings, but also small details inside each drawing. In the first drawing, each additional point is awarded for a detail of the drawing that does not change the meaning, but complements it and makes the drawing more understandable, accurate and legible. I would like to note that in the case of test children, the drawings from the first task can also tell a lot about their inner world - another one will help you with this.

Openness. The assessment is carried out only on the second test. If the figure does not turn into a closed pattern, then you get 0 points. If, for example, the nose turned into part of the head, then you will receive 2 points for each such drawing. If you drew a mustache without a face, it’s 0, but if this mustache is part of a full face, then it’s 2 points.

Logics. It is calculated in tests No. 1 and No. 2. Here it is important to grasp the essence of the name - how well it corresponds to the picture.

If the title is illogical or consists of one word that clearly describes the picture, then you receive 0 points.
A name with properties, for example: a hot bun or a beautiful mustache, is worth 1 point.
Any abstract names that reflect some meaning are worth 3 points. Examples: The futility of existence, the sad, merry fellow, and so on.

Bottom line

Calculate the number of points. If you believe the statistics and take the average scores for similar tests, then you should get 40-50 points. This is the norm. Anything more is good, because it speaks of your non-standard thinking.

Any such tests are relative. They are not completely objective, so they require a huge amount of testing and analysis. To find out a more accurate result, conduct the test on 100 people, and only then carry out the analysis, since otherwise you will have to check the results for originality after each new subject and recalculate the scores.

We wish you good luck in testing. The point is to make quick decisions - everything needs to be done as quickly and thoughtfully as possible. To improve your skills in effectively making important and correct decisions, seek help from our other article. Be happy, successful and don't forget to press the buttons and

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.

When we talk about creativity tests, we primarily mean tests of creative thinking. The first such tests appeared at the beginning of the 20th century. Thus, to study creative individuals before 1915, open tasks of A. Binet’s test with multiple answers were used. After the First World War, many tests “for imagination”, “for a combination of ideas”, etc. appeared. In the 1950s. creativity tests were created by J. Guildford and his staff at California State University.

These techniques, known as the Southern California Tests, measured characteristics of one of the types of thinking called by Guilford divergent. 14 tests were developed. In the first 10, the subject was required to give a verbal answer, and in the last four, he was required to compose an answer based on the pictorial content.

Examples of verbal tasks

1. Ease of word usage. Write words containing the indicated letter (the letter "o": burden, pot, again...).
2. Ease of using associations. Write words similar in meaning to this word (heavy: difficult, weighty, severe...).

Example of a visual assignment

Decor. The contours of well-known objects must be filled with as many details of these objects as possible.

Most famous in the 1950-1960s. there were "Alternative Uses", "Product Improvement" and "Consequences" tests. The Guilford tests are aimed at adults and high school students. Their standardization was carried out on small samples, and data on reliability and validity vary markedly from test to test and are not satisfactory. According to psychologists, the reasons for the low effectiveness of the Guilford tests in assessing creative abilities are the focus on the speed of completing tasks and the failure to take into account personal characteristics.

In addition, the tasks in them do not require a certain number of answers, which prevents the objective calculation of their indicators. For this reason, according to some psychodiagnosticians, for creativity tests it is necessary to establish the reliability of the specialists assessing their performance.

Currently, the most well-known and widely used Tests of Creative Thinking E. P. Torrance (Torrance Tests of Creative Thinking - TTCT). Despite his declared goal of constructing test tasks as a model of the creative process and reflecting not the result, but the process of creativity, in reality, the Torrance tests (especially verbal ones) are essentially similar to the Southern California Guilford tests, and sometimes are their adaptation. In addition, Torrens borrowed test scores from Guildford. However, Torrance did not try to create factorially pure (i.e., reflecting one factor) tests, but sought to reflect in them the complexity of creative processes. Their formal characteristics (reliability, validity) are slightly better than those of Guilford, but still insufficient.

Torrance developed 12 tests grouped into a verbal, visual and auditory battery. He preferred not to use the term “creativity” in the names of his methods, designating them as batteries for verbal, visual and verbal-sound creative thinking. To relieve anxiety and create a favorable creative atmosphere, Torrence called his methods not tests, but classes.

The verbal test, developed in 1966, is intended for children aged five and up and adults. It consists of seven subtests. The first three are questions related to one picture: the subject is asked to ask as many questions as possible about the picture, to guess as many causes and consequences of what is depicted in it. In subtest 4, you should come up with as many interesting and unusual ways as possible to change the toy shown in the picture. Subtest 5 requires you to come up with as many interesting and unusual uses as possible for an object known in everyday life (for example, an empty box). In task 6, you should come up with as many unusual questions as possible about the same subject. Subtest 7 requires you to imagine an unusual situation and make as many guesses as possible about its possible consequences. The time to complete each subtest is limited. The test is group and has two parallel forms: A and B. The main indicators for the test are fluency, flexibility, originality and thoroughness of development. This test has been translated into Russian, but there is no data on its testing for reliability and validity, as well as on standardization on a domestic sample. Therefore, the Torrance verbal test in our country can only be used for research purposes.

Figure test Torrance also appeared in 1966. Its translation, adaptation and restandardization for domestic subjects were carried out by E. I. Shcheblanova, N. P. Shcherbo and N. B. Shumakova." It is intended for subjects from 5 to 18 years old. This test consists of three subtests. Answers to all tasks are given in the form of drawings and captions. Subtest 1 “Draw a picture” requires subjects to stick an irregularly shaped figure cut out of colored paper on a sheet of paper and draw any original picture on its basis. “Finish the drawing”, based on the unfinished figures depicted in the test notebook, draw unusual plot pictures or objects. In subtest 3, you need to draw as many objects as possible based on parallel lines or circles. The time for completing each subtest is limited to 10 minutes (answers are analyzed). based on the criteria of fluency, flexibility, originality and thoroughness of development).

The Verbal-Auditory Creative Thinking Battery consists of two tests administered using a tape recording. The first test, “Sounds and Images,” uses sounds as an object for recognition, the second test, “Onomatopoeia and Images,” uses onomatopoeic words, i.e. words that imitate natural sounds (such as squeaking or crackling). The first test consists of four sound sequences presented three times, the second test consists of nine words presented four times. In both tests, after listening to a sound recording, the test taker must write down what he thinks each sound sounds like. Answers are judged only on originality. This battery was not used in our country.

Another, most recent in time of creation Test of creativity (for preschoolers), manifested in action And movement, was developed by Torrance in 1980. The tasks of this test are designed in such a way as to give the child the opportunity to demonstrate his creative abilities in the process of free movement in any room. The same four measures of creativity are recorded as in other Torrance tests.

Despite the desire of psychologists to contrast creative thinking with reproductive thinking, in practice, creativity tests were built on the same principles as intelligence tests, that is, they were high-speed methods with strictly defined content. Researchers believe that their main drawback is the failure to take into account the motivation and other personal characteristics of individuals, which are essential aspects of creative abilities.

The literature highlights the influence of testing conditions on creativity test performance. Thus, M. Wallach and N. Kogan (1965) pointed out the need for individual testing, a gaming atmosphere, and the absence of time restrictions. It has been shown that time limits affect different children differently: some of them give original answers very quickly, others only after a pause. The latter receive low creativity scores when there are time restrictions and high scores when there are no such restrictions.

The reliability of creativity tests is usually lower than required by psychodiagnostics, but is high enough to not assume that random fluctuations in qualities are being measured. Thus, in a ten-year longitudinal study, the reliability of Torrance tests of creative thinking varied from 0.15 to 0.37 depending on the gender of the subjects and the method of assessment. There is insufficient data on the relationship between Torrance tests and criteria for creative achievement. Some point out their low predictive power. Thus, a study by N. Kogan and E. Pankov (1974), which compared measures of student creativity in the 5th and 10th grades with creative achievements at the end of school (after seven and two years, respectively), showed that the correlation coefficients for fifth graders they are equal to 0, and for 10th graders they are very small and not significant.

There were also low correlations between creativity test scores and teacher ratings of creativity (0.10).

However, an analysis of 70 studies of the predictive validity of creativity tests showed that correlations with creative achievements in real life are often statistically significant. For example, schoolchildren who had the highest scores on creativity tests were significantly more likely to have higher scores in extracurricular activities (painting, music) than their peers who received low test scores. Test scores significantly predicted creative achievement 10 years later for boys but not for girls2. Thus, although the evidence for the validity of creativity tests is not consistent, it does suggest that these tests measure aspects of human mental functioning that are not assessed by other diagnostic procedures. Torrance conducted several longitudinal studies of 6, 7, and 22 years and concluded that his tests measured something different from what intelligence tests measured. This means that the discriminant validity of creativity tests has been confirmed. Data on their predictive validity are still conflicting, which can be explained by the fact that creative processes are complex, and the development of more complex procedures is required to obtain highly valid tests. Similar tests were created in Europe. Thus, in Germany, the Divergent Thinking Tests were created. Mainberger (1977), Tests of Verbal Creativity K. Schoppe (1975), G. Krampena et al (1988). The original creativity tests were developed in Italy by J. Calvi (1966), in Spain by E. Auzmendi et al. (1996).

Cropley A.J. Decree. op. pp. 74-93.
Howieson N. A longitudinal study of creativity 1965-1975 // Journal of Creative Behavior. 1981. No. 15. P. 117-134.
Barron F. X., Harrington D. M. Creativity, intelligence and personality //Annual Review of Psychology. 1981. No. 32. P. 439-476.

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, reflecting the subject's ability to go beyond the situation depicted in the picture, and putting forward 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 to determine creativity, special questionnaires and questionnaires with lists of situations, feelings, and behaviors characteristic of creative people can be used. 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) 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 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 lose sight of 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, hole (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*

Fluency	Flexibility	Originality	Elaboration

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.

Originality scores		Scores for development
1 - 3 grade	9-11 grade	1st - 2nd grade	9-11 grade

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:

		Originality scale	Development scale

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. Test 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.

	Number of points	Creativity level
		Above average

		very tall

		Above average




		Above average
		Very tall

		Above average

		Above average

		Below the average

		Below the average

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 indicator.