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first-to-invent system

Толкование Перевод

1 first-to-invent system

Патенты: изобретательская система, изобретательская система установления приоритета (признание приоритета за первым и действительным изобретателем)

Универсальный англо-русский словарь > first-to-invent system
2 first-to-invent system

США изобретательская система установления приоритета ( признание приоритета за первым и действительным изобретателем)

* * *

изобретательская система установления приоритета (признание приоритета за первым и действительным изобретателем)

Patent terms dictionary > first-to-invent system
3 first-to-invent system

^{PATENT TERMS ТНТ №006}
изобретательская система установления приоритета (признание приоритета за первым и действительным изобретателем)

New terms dictionary > first-to-invent system
4 first to invent principle

Патенты: принцип первого изобретателя (см. тж. first-to-invent system)

Универсальный англо-русский словарь > first to invent principle
5 first to invent

первый изобретатель

см. first-to-invent system

Patent terms dictionary > first to invent
6 first to invent principle

принцип первого изобретателя

см. тж. first-to-invent system

Patent terms dictionary > first to invent principle
7 system

1) комплекс; совокупность; система

2) устройство

3) метод; план, проект; программа

•

- system for processing and search
- system of catalogs
- system of centralized indexing
- system of claim drafting
- system of classification
- system of examination
- system of granting patents
- system of headings
- system of material encouragement
- abstract information retrieval system
- alert information system
- automated design system
- binary system
- business system
- card system
- centralized system of processing
- centralized system of selective distribution
- classification system
- closed system
- communication system
- communication data system
- computing system
- computer system
- control system
- coordinate system
- database management system
- data processing
- storage and transmission system
- deferred examination system
- disk operating system
- domain name system
- examination system
- filing system
- first-to-claim system
- first-to-file system
- first-to-invent system
- forecasting system
- generalized information processing system
- German classification system
- hardware-software system
- information retrieval system
- isolable system
- keyword system
- library classification system
- man - machine system
- marking system
- mechanized retrieval system
- mechanized search system
- microfilm retrieval system
- national system of scientific and technical information
- network operating system
- patent system
- peripheral system of claim drafting
- registration system
- retrieval system
- society system
- sui generis system
- value system
- writing system

Patent terms dictionary > system
8 first inventor

Патенты: первый изобретатель, первый изобретатель (см. first-to-invent system)

Универсальный англо-русский словарь > first inventor
9 first inventor

США первый изобретатель

см. first-to-invent system

* * *

ам. первый изобретатель

Patent terms dictionary > first inventor
10 invent

[ɪn'vɛnt]
vt

machine, system wynajdywać (wynaleźć perf); game, phrase wymyślać (wymyślić perf); ( fabricate) zmyślać (zmyślić perf), wymyślać (wymyślić perf)

* * *
[in'vent]
verb

1) (to be the first person to make or use (eg a machine, method etc): Who invented the microscope?; When was printing invented?) wynaleźć

2) (to make up or think of (eg an excuse or story): I'll have to invent some excuse for not going with him.) wymyślać

•

- invention
- inventive
- inventiveness
- inventor

English-Polish dictionary > invent
11 Creativity

   1) All Human Complex Problem Solving Is 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)

   2) Artificial Intelligence Models of Creative Association

   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)

   3) Creative Innovation and Social Independence

   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)

   4) Ego Strength and Emotional Stability among Creative Geniuses

   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)

   5) Its Mundane Character

   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)

   6) Mozart's Musical Ideas Came to Him in Polished Form

   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)

   7) Scientific Theories and Works of Art Alike Originate in Fantasy

   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)

   8) Self- Esteem and Creative Expression

   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)

   9) Stages in Creative Problem- Solving

   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)

    10) The Bisociative Pattern of the Creative Synthesis

   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)

    12) The Inner Life of the Creative Process

   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)

    13) The Problem of What Impels the Creative Person

   [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)

    14) Theories of Creative Thinking

   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
12 Howe, Elias

SUBJECT AREA: Domestic appliances and interiors, Textiles

[br]

b. 9 July 1819 Spencer, Massachusetts, USA

d. 3 October 1867 Bridgeport, Connecticut, USA

[br]

American inventor of one of the earliest successful sewing machines.

[br]

Son of Elias Howe, a farmer, he acquired his mechanical knowledge in his father's mill. He left school at 12 years of age and was apprenticed for two years in a machine shop in Lowell, Massachusetts, and later to an instrument maker, Ari Davis in Boston, Massachusetts, where his master's services were much in demand by Harvard University. Fired by a desire to invent a sewing machine, he utilized the experience gained in Lowell to devise a shuttle carrying a lower thread and a needle carrying an upper thread to make lock-stitch in straight lines. His attempts were so rewarding that he left his job and was sustained first by his father and then by a partner. By 1845 he had built a machine that worked at 250 stitches per minute, and the following year he patented an improved machine. The invention of the sewing machine had an enormous impact on the textile industry, stimulating demand for cloth because making up garments became so much quicker. The sewing machine was one of the first mass-produced consumer durables and was essentially an American invention. William Thomas, a London manufacturer of shoes, umbrellas and corsets, secured the British rights and persuaded Howe to come to England to apply it to the making of shoes. This Howe did, but he quarrelled with Thomas after less than one year. He returned to America to face with his partner, G.W.Bliss, a bigger fight over his patent (see I.M. Singer), which was being widely infringed. Not until 1854 was the case settled in his favour. This litigation threatened the very existence of the new industry, but the Great Sewing Machine Combination, the first important patent-pooling arrangement in American history, changed all this. For a fee of $5 on every domestically-sold machine and $1 on every exported one, Howe contributed to the pool his patent of 1846 for a grooved eye-pointed needle used in conjunction with a lock-stitch-forming shuttle. Howe's patent was renewed in 1861; he organized and equipped a regiment during the Civil War with the royalties. When the war ended he founded the Howe Machine Company of Bridgeport, Connecticut.

[br]

Further Reading

Obituary, 1867, Engineer 24.

Obituary, 1867, Practical Magazine 5.

F.G.Harrison, 1892–3, Biographical Sketches of Pre-eminent Americans (provides a good account of Howe's life and achievements).

N.Salmon, 1863, History of the Sewing Machine from the Year 1750, with a biography of Elias Howe, London (tells the history of sewing machines).

F.B.Jewell, 1975, Veteran Sewing Machines, A Collector's Guide, Newton Abbot (a more modern account of the history of sewing machines).

C.Singer (ed.), 1958, A History of Technology, Vol. V, Oxford: Clarendon Press (covers the mechanical developments).

D.A.Hounshell, 1984, From the American System to Mass Production 1800–1932. The

Development of Manufacturing Technology in the United States, Baltimore (examines the role of the American sewing machine companies in the development of mass-production techniques).

RLH

Biographical history of technology > Howe, Elias
13 form

1. n форма; внешний вид; очертание

without shape or form — бесформенный

in any shape or form — в любом виде

in the form of a cube — в форме куба

work-and-tumble form — форма для печатания со своим оборотом

signature of a quadratic form — сигнатура квадратичной формы

normalized form — нормализованная форма; нормализованный вид

form transporter — тележка для транспортировки печатных форм

analytic form — аналитическая форма; аналитическое выражение

2. n фигура

well-proportioned form — пропорциональное сложение, хорошая фигура

3. n обличье

Proteus was able to appear in the form of any animal — Протей мог являться в обличье любого животного

4. n стать

5. n форма, вид

literary form — литературная форма

in tabular form — в виде таблицы

in the form of a sonnet — в форме сонета

in the form of a drama — в драматической форме

tooth form — форма зуба

form of combat — вид боя

form tie — обвязка формы

in the form of — в форме

long form — полная форма

6. n вид, разновидность; тип

forms of animal and vegetable life — формы животной и растительной жизни

balance sheets in account form — отчеты в виде счета

closed form solution — решение в аналитическом виде

displacement form — обводы водоизмещающего типа

tree form proof — доказательство в виде дерева

data in graph form — данные в виде графиков

7. n стиль, манера

his form in swimming is bad — он плавает плохо

poor form — нарушение стиля

form break — нарушение стиля

form work — работа над стилем исполнения

bad form — невоспитанность, вульгарность, плохие манеры

8. n состояние; форма; готовность

to round into form — приобретать спортивную форму

was in bad competition form — был в плохой спортивной форме

to distribute ink over the form — накатать краску на форму

regular form of marriage — законная форма вступления в брак

propeller form parameter — коэффициент формы гребного винта

multiple copy business form — многолистная конторская форма

9. n настроение, душевное состояние

Jack was in great form at the dinner party — Джек был в приподнятом настроении на званом обеде

crude form — необработанное состояние

diluted form — разбавленное состояние

undiluted form — неразбавленное состояние

suspended form — суспендированное состояние

10. n формальность; проформа

to attach importance to forms — придавать значение формальностям

11. n церемония, порядок

in due form — по всем правилам

in the form of order — в приказном порядке

in the prescribed form — в установленном порядке

12. n установившаяся форма выражения; формула

the form of greeting — формула приветствия

conjuctive normal form — конъюктивная нормальная форма; КНФ

to divorce form from matter — отрывать форму от содержания

to assume the original form — принять первоначальную форму

stripped a form — освободил форму от пробельного материала

manually maintained form — форма немашинизированного учета

13. n класс

upper forms — старшие классы

fifth form — пятый класс

first form — первый класс

sixth form — шестой класс

form class — формальный класс

fourth form — четвёртый класс

14. n форма, бланк, образец; анкета

printed form — печатный бланк

a form for a deed — бланк для соглашения

concept of form and space — концепция форм и пространства

strip a form — освобождать форму от пробельного материала

form truck — тележка для перевозки тяжелых шрифтовых форм

chargeback form — бланк распоряжения на возвратный платеж

two-up form — сдвоенная форма с одинаковым спуском полос

15. n нора

16. n грам. форма слова

implicative normal form — импликативная нормальная форма

disjunctive normal form — дизъюнктивная нормальная форма

combination form of virus — комбинированная форма вируса

carbonized form — конторская форма с копировальным слоем

snap-apart business form — «отрывная» конторская форма

17. n спец. форма исполнения

rondo form — форма рондо

growth form — форма роста

ice form — форма для льда

test form — пробная форма

arrest form — форма ареста

18. n спец. модель, тип, образец; торговый сорт

purchase order form — бланк торгового заказа

buoyant form — обводы водоизмещающего типа

planing form — обводы глиссирующего типа

form of government — образ правления

19. n спец. тех. форма для литья

form resistance — сопротивление формы

full size form — полноформатная форма

granular form — гранулированная форма

multilinear form — полилинейная форма

powdered form — порошкообразная форма

20. n спец. полигр. печатная форма

liquid form — жидкая форма

solid form — твердая форма

song form — песенная форма

form c relay — реле формы С

ganged form — сборная форма

21. n спец. стр. форма; опалубка

form removal — распалубка

description form — описательная форма

dropping the form — расключение формы

form face — рабочая поверхность формы

form of warfare — форма ведения войны

prevailing form — преобладающая форма

22. n спец. выражение

analytical form — аналитическое выражение

mathematical form — аналитическое выражение

23. v придавать форму, вид

to form a piece of wood into a certain shape — придавать куску дерева определённую форму

pure form — очищенный вид

in any form — в любой форме

latent form — скрытая форма

life form — жизненная форма

norm form — норменная форма

24. v принимать форму, вид

object form — форма объекта

on-line form — исходный вид

smooth form — гладкая форма

active form — активная форма

bound form — связанная форма

25. v составлять, образовывать; формировать

these parts together form a perfect whole — эти части образуют вместе гармоничное целое

the rain formed large pools on the lawn — от дождя на газоне образовались большие лужи

form the government — сформировать правительство

to form the government — сформировать правительство

form public opinion — формировать общественное мнение

form a joint venture — формировать совместное предприятие

26. v образовываться; формироваться

crystals formed in the retort — в реторте образовались кристаллы

form an angle with — образовывать угол

form the instruction — формировать команду

27. v грам. образовывать

to form the plural of a noun — образовать множественное число существительного

28. v создавать, составлять; формулировать

to form an idea — создавать себе представление

to form an opinion — составить мнение

form an union — создавать союз

form an alliance — создавать союз

form a pivot — создавать опорный район

29. v возникать, оформляться

the idea slowly formed in my mind — эта мысль постепенно становилась у меня более отчётливой

30. v представлять собой; являться

chocolate forms a wholesome substitute for staple food — шоколад является полноценным заменителем основных продуктов питания

31. v тренировать, дисциплинировать; воспитывать; развивать

to form the mind — развивать ум

to form the character — воспитывать характер

32. v формировать, организовывать; образовывать, создавать

to form a class for beginners — создать группу начинающих

to form an army — формировать армию

to form a government — формировать правительство

to form a society — организовывать общество

to form a ministry — сформировать кабинет

33. v воен. строить

to form a column — вытягиваться в колонну

form up — строиться

to form a crowd into rank — построить толпу

to form a guard of honour — выстроить почётный караул

34. v воен. строиться

35. v спец. формовать

36. v спец. сад. обрезать, подвергать обрезке; формировать крону

забираться, забиваться в нору

to form and display an intention — сформировать и обнаружить намерение, умысел

Синонимический ряд:

1. appearance (noun) appearance; body; build; cast; configuration; conformation; cut; figure; format; framework; matrix; plan; shape; structure; style

2. business form (noun) application; blank; business form; document; duplicate; paper; questionnaire; report

3. ceremony (noun) ceremonial; ceremony; conformity; formality; liturgy; rite; ritual; rule

4. convenance (noun) convenance; convention; usage

5. formula (noun) approach; formula; method; mode; practice; procedure; system

6. group (noun) assemblage; group; organisation; organization

7. kind (noun) arrangement; kind; manner; sort; type

8. model (noun) model; mold; mould; pattern

9. order (noun) condition; fitness; order; trim

10. acquire (verb) acquire; contract; develop

11. arrange (verb) arrange; combine; dispose; order; organise; organize; systematise; systematize

12. cast (verb) carve; cast; chisel; construct; contrive; design; devise; fashion; frame; mold; pattern

13. make (verb) assemble; build; compose; comprise; constitute; create; erect; fabricate; forge; invent; make; make up; manufacture; originate; produce; put together; shape

14. model (verb) model; mould; shape

15. teach (verb) discipline; educate; instruct; rear; teach; train

Антонимический ряд:

damage; defacement; deform; deformity; demolish; derange; destroy; devastate; disarrange; disintegrate; dislocate; dismantle; dismember

English-Russian base dictionary > form

См. также в других словарях:

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Словари и энциклопедии на Академике

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