"The Technology of Real Discoveries" introduces a groundbreaking science: the theory of talented thinking. Drawing on the author’s decades of research in creativity, the book presents a systematic analysis of tens of thousands of discoveries and inventions across science, technology, and art. From this study, the author has identified 19 cognitive procedures that encapsulate the methods of brilliant thinkers throughout history.

The book’s central argument is that talented thinking is not an innate gift—it is a skill that anyone can learn and apply with dedication. Beyond methodology, the work also examines the personal qualities of exceptional thinkers and offers insights into nurturing talent from early childhood.

Written in clear, accessible language, the book requires no specialized background, making it suitable even for high school students.

The author, Yuliy Murashkovsky, is a TRIZ Master, educator, and researcher with extensive expertise in innovation and creative problem-solving.

The book’s central idea is that anyone can learn to formulate and solve creative problems in art. Rather than presenting the development of art as a mere collection of "masterpieces," it reveals a system of clear, recurring patterns. These patterns—along with the reasons artistic problems emerge and methods for resolving them—are thoroughly explained in the book. The theoretical foundation for this approach is the Theory of Inventive Problem Solving (TRIZ), and the insights are based on more than 20 years of research.

Every section includes practical examples (around 500 in total) and exercises (more than 100) to reinforce the concepts. For instance, the book examines challenges like the one faced by the renowned Finnish architect Reima Pietilä when he was commissioned to design a government building in Kuwait. Accustomed to European architecture’s straight lines and right angles, Pietilä found himself in a cultural dilemma: Kuwait’s traditional design was characterized by flowing, calligraphic curves. A purely European-style building would clash with its surroundings. The question then became: How could he preserve his architectural style while ensuring harmony with the local aesthetic? The book provides systematic solutions to such creative problems.

The main idea of the book is that anyone can learn to identify and solve creative problems in art. Rather than treating art as a mere collection of "masterpieces," the book reveals it as a system of discernible patterns. These patterns—along with the origins of artistic challenges and methods for resolving them—are explained in detail. The approach is grounded in the Theory of Inventive Problem Solving (TRIZ) and draws on over 20 years of research. Every section includes practical examples (around 500) and exercises (more than 100) to help readers apply these concepts.

For instance, the book explores dilemmas like the one faced by 19th-century Russian composers, who sought to express "national character" in music. Many, such as Balakirev and Tchaikovsky, achieved this by directly quoting folk melodies in their works. However, when Alexander Borodin composed his opera Prince Igor, he wanted to use the folk Song of the Mountains—but inserting it unchanged felt unoriginal, while altering it would strip the melody of its authentic folk essence. How could he incorporate the song into his opera while preserving its folk spirit without using it verbatim? The book demonstrates how such creative contradictions can be systematically resolved.

The main idea of the book is that anyone can learn to set and solve creative problems in art. To make this possible, the development of art is presented not as a collection of "masterpieces," but as clear patterns. The book describes these patterns as well as the causes of artistic problems and ways to solve them. The theoretical foundation of this description is the Theory of Inventive Problem Solving (TRIZ). The book is based on the results of more than 20 years of research. All sections are supplemented with examples (about 500) and educational tasks (more than 100).

Examples of creative tasks:
In 19th-century Russian culture, the idea of "national identity" was strong. In music, this was expressed by incorporating folk songs. Some composers, such as Balakirev, Tchaikovsky, and others, simply introduced folk melodies into their works.
In the opera "Prince Igor," A.P. Borodin also decided to use the folk "Song of the Mountains." However, he considered it uncreative to introduce the melody directly. If the melody were altered, it would no longer be "folk." How can the song be included in the opera, preserving its "folk" character, while not introducing it directly?