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Einstein was a genius

  • 1 genio

    f. & m.
    1 genius, person with extraordinary talents.
    2 genius, great talent.
    3 temper, nature, temperament.
    4 genius.
    5 genie, goblin, djinn, jinn.
    m.
    1 genius (talento).
    un genio del arte moderno one of the geniuses of modern art
    2 genie.
    tener mucho genio to be quick-tempered
    tener mal genio to be bad-tempered
    4 nature, disposition.
    * * *
    1 (carácter) temper, disposition
    2 (facultad) genius
    3 (espíritu) spirit
    \
    estar de mal genio to be in a bad mood
    tener mal genio to have a bad temper
    * * *
    noun m.
    * * *
    SM
    1) (=temperamento) temper

    ¡menudo genio tiene! — he's got such a temper!

    genio vivo — quick temper, hot temper

    2) (=carácter) nature, disposition

    tener buen genio — to be good natured, be even tempered

    corto de genio — timid, spiritless

    3) (=estado de ánimo)

    estar de mal genio — to be in a bad temper, be in a bad mood

    4) (=talento) genius

    ¡eres un genio! — you're a genius!

    5) (=peculiaridad) genius, peculiarities pl

    el genio andaluz — the Andalusian spirit, the spirit of Andalucía

    6) (=ser fantástico) genie
    7) (=divinidad) spirit
    * * *
    a) ( carácter) temper

    tener buen/mal genio — to be even-tempered/bad-tempered

    estar con or tener el genio atravesado — (fam) to be in a bad mood o in a temper

    tener el genio pronto or vivo — to be quick-tempered

    b) ( talento) genius
    c) ( lumbrera) genius
    d) ( ser fantástico) genie
    * * *
    = genius, temper, genie [genies/genii, -pl.], savant, temperament.
    Ex. The mass-market novelist who would probably be happier to be described as a good 'craftsman' or 'craftswoman' than as a literary ' genius'.
    Ex. A society without a literature has that much less chance of embodying within its temper and so within its organizations something of the fullness of human experience.
    Ex. The article 'The genie is out of the bottle' considers the growth of local on-line information retrieval in parallel with conventional methods.
    Ex. The subsequent debate, which engaged astrologers, doctors, theologians, & savants, reveals the tensions in French culture at the dawn of the Enlightenment.
    Ex. The temperaments of the two founders were such that lasting success was unlikely.
    ----
    * de mal genio = bad-tempered, curmudgeonly, crusty [crustier -comp., crustiest -sup.], irascible, shrewish, short-tempered, ill-natured.
    * genio en ciernes = budding genius.
    * idiota genio = idiot savant.
    * mal genio = bile, short temper.
    * necesitar ser un genio = call for + nothing less than genius.
    * tonto genio = idiot savant.
    * * *
    a) ( carácter) temper

    tener buen/mal genio — to be even-tempered/bad-tempered

    estar con or tener el genio atravesado — (fam) to be in a bad mood o in a temper

    tener el genio pronto or vivo — to be quick-tempered

    b) ( talento) genius
    c) ( lumbrera) genius
    d) ( ser fantástico) genie
    * * *
    = genius, temper, genie [genies/genii, -pl.], savant, temperament.

    Ex: The mass-market novelist who would probably be happier to be described as a good 'craftsman' or 'craftswoman' than as a literary ' genius'.

    Ex: A society without a literature has that much less chance of embodying within its temper and so within its organizations something of the fullness of human experience.
    Ex: The article 'The genie is out of the bottle' considers the growth of local on-line information retrieval in parallel with conventional methods.
    Ex: The subsequent debate, which engaged astrologers, doctors, theologians, & savants, reveals the tensions in French culture at the dawn of the Enlightenment.
    Ex: The temperaments of the two founders were such that lasting success was unlikely.
    * de mal genio = bad-tempered, curmudgeonly, crusty [crustier -comp., crustiest -sup.], irascible, shrewish, short-tempered, ill-natured.
    * genio en ciernes = budding genius.
    * idiota genio = idiot savant.
    * mal genio = bile, short temper.
    * necesitar ser un genio = call for + nothing less than genius.
    * tonto genio = idiot savant.

    * * *
    1 (carácter) temper
    tener buen/mal genio to be even-tempered/bad-tempered
    ¡qué genio tiene este niño! this child has such a temper o has a terrible temper!
    estar con or tener el genio atravesado ( fam); to be in a bad mood o in a temper
    genio y figura hasta la sepultura a leopard never changes its spots
    tener el genio pronto or vivo to be quick-tempered
    2 (talento) genius
    un pintor con mucho genio a very talented painter, a painter of genius
    3 (lumbrera) genius
    es un genio con el pincel she's a brilliant painter, she's a genius with the paint brush
    * * *

     

    genio sustantivo masculino

    ◊ tener buen/mal genio to be even-tempered/bad-tempered



    genio sustantivo masculino
    1 (talante, temperamento) temperament
    (mal carácter) temper: está de mal genio, he's in a bad mood
    tengo mal genio, I have a bad temper
    2 (talento, capacidad) genius: es un genio, he's brilliant
    3 (ente fantástico) genie: al frotar la lámpara apareció el genio, when he rubbed the lamp the genie appeared
    ' genio' also found in these entries:
    Spanish:
    botón
    - carácter
    - considerar
    - excitable
    - fenómena
    - fenómeno
    - fiera
    - heredar
    - inspiración
    - lado
    - monstruo
    - rey
    - sombra
    - uva
    - endemoniado
    - endiablado
    - gastar
    English:
    bad-tempered
    - bile
    - bound
    - disposition
    - flare up
    - genie
    - genius
    - hot
    - quick
    - quicktempered
    - short
    - short-tempered
    - surliness
    - temper
    - whiz
    - whiz kid
    - whizz
    - wish
    - wizard
    - bad
    - petulant
    - violent
    * * *
    genio nm
    1. [talento] genius;
    2. [persona] genius;
    un genio del arte moderno one of the geniuses of modern art
    3. [carácter] nature, disposition;
    4. [personalidad fuerte] spirit;
    tiene mucho genio she's very feisty
    5. [mal carácter] bad temper;
    estar de mal genio to be in a mood;
    tener mal o [m5] mucho genio to be bad-tempered
    6. [ser fantástico] genie
    7. Mitol genie
    * * *
    m
    1 talento, persona genius
    2 ( carácter) temper;
    tener mal genio be bad-tempered;
    estar de buen/mal genio be in a good/bad mood
    * * *
    genio nm
    1) : genius
    2) : temper, disposition
    de mal genio: bad-tempered
    3) : genie
    * * *
    1. (carácter) temper
    2. (persona) genius [pl. geniuses]

    Spanish-English dictionary > genio

  • 2 lumbrera

    f.
    1 genius (informal).
    2 skylight, light shaft, source of light, luminary.
    3 great talent, pundit, talented person.
    * * *
    1 (persona) genius, luminary; (con ironía) bright spark
    * * *
    SF
    1) (=genio) leading light, luminary
    2) (=claraboya) skylight
    3) (=cuerpo luminoso) luminary liter
    4) (Mec) vent, port
    5) Méx (Taur, Teat) box
    * * *
    femenino (fam) ( persona brillante) genius, whiz* (colloq)
    * * *
    = luminary, rocket scientist.
    Ex. This article contrasts the views of Cutter and Panizzi and alludes to the ideas of 19th and 20th century luminaries and committees.
    Ex. In economic reports month after month, the Democrats and rocket scientists scratch their heads and wonder why job creation is too low.
    * * *
    femenino (fam) ( persona brillante) genius, whiz* (colloq)
    * * *
    = luminary, rocket scientist.

    Ex: This article contrasts the views of Cutter and Panizzi and alludes to the ideas of 19th and 20th century luminaries and committees.

    Ex: In economic reports month after month, the Democrats and rocket scientists scratch their heads and wonder why job creation is too low.

    * * *
    A ( fam) (persona brillante) genius, whiz* ( colloq)
    es una lumbrera para la or en química she's a real whiz o a genius at chemistry ( colloq), she's brilliant at chemistry
    no es ninguna lumbrera he's no genius
    B ( Auto) port
    Compuestos:
    intake port
    exhaust port
    * * *

    lumbrera sustantivo femenino (fam) ( persona brillante) genius, whiz( conjugate whiz) (colloq)
    lumbrera sustantivo femenino luminary, genius
    ' lumbrera' also found in these entries:
    Spanish:
    genio
    English:
    brains
    * * *
    1. [sabio] genius;
    su hijo es una lumbrera para la música her son is a musical genius;
    no es precisamente una lumbrera he's no genius o Einstein
    2. Tec port
    lumbrera de admisión inlet port;
    lumbrera de escape exhaust port
    * * *
    f genius
    * * *
    1) : skylight
    2) : vent, port
    3) : brilliant person, luminary

    Spanish-English dictionary > lumbrera

  • 3 Creativity

       Put in this bald way, these aims sound utopian. How utopian they areor rather, how imminent their realization-depends on how broadly or narrowly we interpret the term "creative." If we are willing to regard all human complex problem solving as creative, then-as we will point out-successful programs for problem solving mechanisms that simulate human problem solvers already exist, and a number of their general characteristics are known. If we reserve the term "creative" for activities like discovery of the special theory of relativity or the composition of Beethoven's Seventh Symphony, then no example of a creative mechanism exists at the present time. (Simon, 1979, pp. 144-145)
       Among the questions that can now be given preliminary answers in computational terms are the following: how can ideas from very different sources be spontaneously thought of together? how can two ideas be merged to produce a new structure, which shows the influence of both ancestor ideas without being a mere "cut-and-paste" combination? how can the mind be "primed," so that one will more easily notice serendipitous ideas? why may someone notice-and remember-something fairly uninteresting, if it occurs in an interesting context? how can a brief phrase conjure up an entire melody from memory? and how can we accept two ideas as similar ("love" and "prove" as rhyming, for instance) in respect of a feature not identical in both? The features of connectionist AI models that suggest answers to these questions are their powers of pattern completion, graceful degradation, sensitization, multiple constraint satisfaction, and "best-fit" equilibration.... Here, the important point is that the unconscious, "insightful," associative aspects of creativity can be explained-in outline, at least-by AI methods. (Boden, 1996, p. 273)
       There thus appears to be an underlying similarity in the process involved in creative innovation and social independence, with common traits and postures required for expression of both behaviors. The difference is one of product-literary, musical, artistic, theoretical products on the one hand, opinions on the other-rather than one of process. In both instances the individual must believe that his perceptions are meaningful and valid and be willing to rely upon his own interpretations. He must trust himself sufficiently that even when persons express opinions counter to his own he can proceed on the basis of his own perceptions and convictions. (Coopersmith, 1967, p. 58)
       he average level of ego strength and emotional stability is noticeably higher among creative geniuses than among the general population, though it is possibly lower than among men of comparable intelligence and education who go into administrative and similar positions. High anxiety and excitability appear common (e.g. Priestley, Darwin, Kepler) but full-blown neurosis is quite rare. (Cattell & Butcher, 1970, p. 315)
       he insight that is supposed to be required for such work as discovery turns out to be synonymous with the familiar process of recognition; and other terms commonly used in the discussion of creative work-such terms as "judgment," "creativity," or even "genius"-appear to be wholly dispensable or to be definable, as insight is, in terms of mundane and well-understood concepts. (Simon, 1989, p. 376)
       From the sketch material still in existence, from the condition of the fragments, and from the autographs themselves we can draw definite conclusions about Mozart's creative process. To invent musical ideas he did not need any stimulation; they came to his mind "ready-made" and in polished form. In contrast to Beethoven, who made numerous attempts at shaping his musical ideas until he found the definitive formulation of a theme, Mozart's first inspiration has the stamp of finality. Any Mozart theme has completeness and unity; as a phenomenon it is a Gestalt. (Herzmann, 1964, p. 28)
       Great artists enlarge the limits of one's perception. Looking at the world through the eyes of Rembrandt or Tolstoy makes one able to perceive aspects of truth about the world which one could not have achieved without their aid. Freud believed that science was adaptive because it facilitated mastery of the external world; but was it not the case that many scientific theories, like works of art, also originated in phantasy? Certainly, reading accounts of scientific discovery by men of the calibre of Einstein compelled me to conclude that phantasy was not merely escapist, but a way of reaching new insights concerning the nature of reality. Scientific hypotheses require proof; works of art do not. Both are concerned with creating order, with making sense out of the world and our experience of it. (Storr, 1993, p. xii)
       The importance of self-esteem for creative expression appears to be almost beyond disproof. Without a high regard for himself the individual who is working in the frontiers of his field cannot trust himself to discriminate between the trivial and the significant. Without trust in his own powers the person seeking improved solutions or alternative theories has no basis for distinguishing the significant and profound innovation from the one that is merely different.... An essential component of the creative process, whether it be analysis, synthesis, or the development of a new perspective or more comprehensive theory, is the conviction that one's judgment in interpreting the events is to be trusted. (Coopersmith, 1967, p. 59)
       In the daily stream of thought these four different stages [preparation; incubation; illumination or inspiration; and verification] constantly overlap each other as we explore different problems. An economist reading a Blue Book, a physiologist watching an experiment, or a business man going through his morning's letters, may at the same time be "incubating" on a problem which he proposed to himself a few days ago, be accumulating knowledge in "preparation" for a second problem, and be "verifying" his conclusions to a third problem. Even in exploring the same problem, the mind may be unconsciously incubating on one aspect of it, while it is consciously employed in preparing for or verifying another aspect. (Wallas, 1926, p. 81)
       he basic, bisociative pattern of the creative synthesis [is] the sudden interlocking of two previously unrelated skills, or matrices of thought. (Koestler, 1964, p. 121)
        11) The Earliest Stages in the Creative Process Involve a Commerce with Disorder
       Even to the creator himself, the earliest effort may seem to involve a commerce with disorder. For the creative order, which is an extension of life, is not an elaboration of the established, but a movement beyond the established, or at least a reorganization of it and often of elements not included in it. The first need is therefore to transcend the old order. Before any new order can be defined, the absolute power of the established, the hold upon us of what we know and are, must be broken. New life comes always from outside our world, as we commonly conceive that world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." (Ghiselin, 1985, p. 4)
       New life comes always from outside our world, as we commonly conceive our world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." Chaos and disorder are perhaps the wrong terms for that indeterminate fullness and activity of the inner life. For it is organic, dynamic, full of tension and tendency. What is absent from it, except in the decisive act of creation, is determination, fixity, and commitment to one resolution or another of the whole complex of its tensions. (Ghiselin, 1952, p. 13)
       [P]sychoanalysts have principally been concerned with the content of creative products, and with explaining content in terms of the artist's infantile past. They have paid less attention to examining why the artist chooses his particular activity to express, abreact or sublimate his emotions. In short, they have not made much distinction between art and neurosis; and, since the former is one of the blessings of mankind, whereas the latter is one of the curses, it seems a pity that they should not be better differentiated....
       Psychoanalysis, being fundamentally concerned with drive and motive, might have been expected to throw more light upon what impels the creative person that in fact it has. (Storr, 1993, pp. xvii, 3)
       A number of theoretical approaches were considered. Associative theory, as developed by Mednick (1962), gained some empirical support from the apparent validity of the Remote Associates Test, which was constructed on the basis of the theory.... Koestler's (1964) bisociative theory allows more complexity to mental organization than Mednick's associative theory, and postulates "associative contexts" or "frames of reference." He proposed that normal, non-creative, thought proceeds within particular contexts or frames and that the creative act involves linking together previously unconnected frames.... Simonton (1988) has developed associative notions further and explored the mathematical consequences of chance permutation of ideas....
       Like Koestler, Gruber (1980; Gruber and Davis, 1988) has based his analysis on case studies. He has focused especially on Darwin's development of the theory of evolution. Using piagetian notions, such as assimilation and accommodation, Gruber shows how Darwin's system of ideas changed very slowly over a period of many years. "Moments of insight," in Gruber's analysis, were the culminations of slow long-term processes.... Finally, the information-processing approach, as represented by Simon (1966) and Langley et al. (1987), was considered.... [Simon] points out the importance of good problem representations, both to ensure search is in an appropriate problem space and to aid in developing heuristic evaluations of possible research directions.... The work of Langley et al. (1987) demonstrates how such search processes, realized in computer programs, can indeed discover many basic laws of science from tables of raw data.... Boden (1990a, 1994) has stressed the importance of restructuring the problem space in creative work to develop new genres and paradigms in the arts and sciences. (Gilhooly, 1996, pp. 243-244; emphasis in original)

    Historical dictionary of quotations in cognitive science > Creativity

  • 4 Heaviside, Oliver

    [br]
    b. 18 May 1850 London, England
    d. 2 February 1925 Torquay, Devon, England
    [br]
    English physicist who correctly predicted the existence of the ionosphere and its ability to reflect radio waves.
    [br]
    Brought up in poor, almost Dickensian, circumstances, at the age of 13 years Heaviside, a nephew by marriage of Sir Charles Wheatstone, went to Camden House Grammar School. There he won a medal for science, but he was forced to leave because his parents could not afford the fees. After a year of private study, he began his working life in Newcastle in 1870 as a telegraph operator for an Anglo-Dutch cable company, but he had to give up after only four years because of increasing deafness. He therefore proceeded to spend his time studying theoretical aspects of electrical transmission and communication, and moved to Devon with his parents in 1889. Because the operation of many electrical circuits involves transient phenomena, he found it necessary to develop what he called operational calculus (which was essentially a form of the Laplace transform calculus) in order to determine the response to sudden voltage and current changes. In 1893 he suggested that the distortion that occurred on long-distance telephone lines could be reduced by adding loading coils at regular intervals, thus creating a matched-transmission line. Between 1893 and 1912 he produced a series of writings on electromagnetic theory, in one of which, anticipating a conclusion of Einstein's special theory of relativity, he put forward the idea that the mass of an electric charge increases with its velocity. When it was found that despite the curvature of the earth it was possible to communicate over very great distances using radio signals in the so-called "short" wavebands, Heaviside suggested the presence of a conducting layer in the ionosphere that reflected the waves back to earth. Since a similar suggestion had been made almost at the same time by Arthur Kennelly of Harvard, this layer became known as the Kennelly-Heaviside layer.
    [br]
    Principal Honours and Distinctions
    FRS 1891. Institution of Electrical Engineers Faraday Medal 1924. Honorary PhD Gottingen. Honorary Member of the American Association for the Advancement of Science.
    Bibliography
    1872. "A method for comparing electro-motive forces", English Mechanic (July).
    1873. Philosophical Magazine (February) (a paper on the use of the Wheatstone Bridge). 1889, Electromagnetic Waves.
    Further Reading
    I.Catt (ed.), 1987, Oliver Heaviside, The Man, St Albans: CAM Publishing.
    P.J.Nahin, 1988, Oliver Heaviside, Sage in Solitude: The Life and Works of an Electrical Genius of the Victorian Age, Institute of Electrical and Electronics Engineers, New York.
    J.B.Hunt, The Maxwellians, Ithaca: Cornell University Press.
    KF

    Biographical history of technology > Heaviside, Oliver

См. также в других словарях:

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