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identical+elements

  • 1 yhteisten elementtien teoria

    • identical elements theory

    Suomi-Englanti sanakirja > yhteisten elementtien teoria

  • 2 Learning

       One mental function or activity improves others in so far as and because they are in part identical with it, because it contains elements common to them. Addition improves multiplication because multiplication is largely addition; knowledge of Latin gives increased ability to learn French because many of the facts learned in the one case are needed in the other. (Thorndike, 1906, p. 243)
        The Law of Effect is that: Of several responses made to the same situation, those which are accompanied or closely followed by satisfaction to the animal will, other things being equal, be more firmly connected with the situation, so that, when it recurs, they will be more likely to recur; those which are accompanied or closely followed by discomfort to the animal will, other things being equal, have their connections with that situation weakened, so that, when it recurs, they will be less likely to recur. The greater the satisfaction or discomfort, the greater the strengthening or weakening of the bond.
        The Law of Exercise is that: Any response to a situation will, other things being equal, be more strongly connected with the situation in proportion to the number of times it has been connected with that situation and to the average vigor and duration of the connections. (E. L. Thorndike, 1970, p. 244)
       The main objection to the prevailing [associationist] theory, which makes one kind of connection the basis of all learning, is not that it may be incorrect but that in the course of psychological research it has prevented an unbiased study of other kinds of learning. (Katona, 1940, pp. 4-5)
       I believe that learning by examples, learning by being told, learning by imitation, learning by reinforcement and other forms are much like one another. In the literature on learning there is frequently an unstated assumption that these various forms are fundamentally different. But I think the classical boundaries between the various kinds of learning will disappear once superficially different kinds of learning are understood in terms of processes that construct and manipulate descriptions. (Winston, 1975, p. 185)

    Historical dictionary of quotations in cognitive science > Learning

  • 3 статистически тождественные элементы

    Универсальный русско-английский словарь > статистически тождественные элементы

  • 4 теория идентичных элементов

    (Э. Торндайка) identical elements theory

    Russian-english psychology dictionary > теория идентичных элементов

  • 5 статистически тождественные элементы

    Русско-английский научно-технический словарь Масловского > статистически тождественные элементы

  • 6 виды коррекции коэффициента мощности

    1. types of power factor correction
    2. PFC types

     

    виды коррекции коэффициента мощности
    -

    There are 2 types of power factor correction: fixed or automatic.
    Fixed power factor correction consists of inserting, in parallel on the network, a capacitor bank whose total power is provided by the assembly of capacitors of identical or different ratings. The bank is energized by a contactor that simultaneously supplies all the capacitors (a single step).
    The inrush current peak, in the case of fixed correction, can reach 30 times the nominal current of the capacitor bank.
    An automatic power factor correction system, on the other hand, consists of several capacitor banks of identical or different ratings (several steps), energized separately according to the value of the power factor to be corrected.
    An electronic device automatically determines the power of the steps to be energized and activates the relevant contactors.
    The inrush current peak, in the case of automatic correction, depends on the power of the steps already on duty, and can reach 100 times the nominal current of the step to be energized.
    [ABB]

    PFC Types
    There are two types of Power Factor Correction - Passive PFC and Active PFC.
    Passive PFC uses passive elements like a ferrite core inductor on the AC input. It is very easy to implement in existing power circuits although the power factor is low at 60-80%. The proper AC input voltage (115V or 230V) must also be chosen manually. In addition, significant EMI can still result with a 115V AC source. Of course, a 230V AC source will not have this problem!.
    Active PFC, on the other hand, uses a switching regulator with active elements like an IC, FETs (Field Effect Transistors) and diodes to create an active PFC circuit. This circuit allows the power supply to achieve a power factor of up to 95%, significantly reduce harmonics and automatically adjusts the AC input voltage. This means you do not have to manually select the AC input voltage. It works with all voltages from 110V to 240V.
    [ http://www.techarp.com/showarticle.aspx?artno=81&pgno=1]

     

    Тематики

    EN

    Русско-английский словарь нормативно-технической терминологии > виды коррекции коэффициента мощности

  • 7 одинаковый

    Одинаковый - equal, identical; the same (один и тот же); universal (для всех); similar (аналогичный).
     Although two flows have the same turbulence intensity, their scales can be quite different.
     Although the basic elements of each separated now field are universal, the precise flow patterns in each case are somewhat different.
    Одинаковый с
     The various runs are parameterized by the surface heat flux, the values of which are identical to those of the melting experiments.
     Aluminum sleeves of outside diameter identical to that of the naphthalene-coated rings were positioned to either side of the array of rings.

    Русско-английский научно-технический словарь переводчика > одинаковый

  • 8 प्रकृति


    pra-kṛiti
    f. « making orﾠ placing before orﾠ at first», the original orﾠ natural form orﾠ condition of anything, original orﾠ primary substance (opp. to vi-kṛiti q.v.) Prāt. Nir. Jaim. MBh. ;

    cause original source Mn. MBh. Ṡak. etc.;
    origin, extraction Mṛicch. ;
    nature, character, constitution, temper, disposition MBh. Kāv. Suṡr. etc. (ibc. andﾠ - tyā ind. by nature, naturally, unalterably, properly Prāt. ṠrS. Mn. etc.);
    fundamental form, pattern, standard, model, rule (esp. in ritual) ṠrS. ;
    (in the Sāṃkhya phil.) the original producer of ( orﾠ rather passive power of creating) the material world (consisting of 3 constituent essences orﾠ Guṇas called sattva, rajas andﾠ tamas), Nature (distinguished from purusha, Spirit. as Māyā is distinguished from Brahman in the Vedântas.);
    pl. the 8 producers orﾠ primary essences which evolve the whole visible world (viz. a-vyakta, buddhi orﾠ mahat, ahaṉ-kāra, andﾠ the 5 tan-mātras orﾠ subtle elements;
    rarely the 5 elements alone) IW. 80 etc.. ;
    (in mythol.) a goddess, the personified will of the Supreme in the creation (hence the same with the Ṡakti orﾠ personified energy orﾠ wife of a deity, as Lakshmī, Durgā etc.;
    alsoﾠ considered as identical with the Supreme Being) W. IW. 140 RTL. 223 ;
    (pl.) N. of a class of deities under Manu Raibhya Hariv. ;
    (in polit.) pl. a king's ministers, the body of ministers orﾠ counsellors, ministry Mn. MBh. etc.;
    the subjects of a king, citizens, artisans etc. ib. ;
    the constituent elements orﾠ powers of the state (of which are usually enumerated, viz. king minister, alies, treasure, army, territory, fortresses Mn. IX, 294; 295);
    the various sovereigns to be considered in case of war (viz. the madhyama, vijigīshu, udāsīna andﾠ ṡatru;
    to which should be added 8 remoter princes,
    viz. the mitra, arimitra, mitra-mitra, arimitra-mitra, pārshṇi-graha, ākranda, pārshṇigrāhâ̱sāra, ākrandâ̱sāsa;
    each of these 12 kings has 5 Prakṛitis in the form of minister, territory, fortresses, treasure andﾠ army, so that the total number of Prakṛitis may be 72) Mn. VII, 155; 157 Kull. ;
    (in gram.) the crude orﾠ elementary form of a word, base, root, an uninflected word Sāh. Pāṇ. Sch. Vop. ;
    N. of 2 classes of metres Col.;
    (in arithm.) a co-efficient multiplier ib. ;
    (in anat.) temperament, the predominance of one of the humours at the time of generation W. ;
    (with tritīyā) the third nature, a eunuch MBh. ;
    matter, affair Lalit. ;
    the male orﾠ female organ of generation L. ;
    a woman orﾠ womankind L. ;
    a mother L. ;
    an animal L. ;
    N. of a woman Buddh. ;
    N. of wk.

    Sanskrit-English dictionary > प्रकृति

  • 9 ὅμηρος

    Grammatical information: m.
    Meaning: `pledge, hostage, bail, warrant' (IA.).
    Other forms: pl. also -α.
    Derivatives: ὁμηρεύω, also with ἐξ-, συν-, `to serve as a hostage, to guarantee, to take as a pledge, to take hostage' (Att. Redner, E. Rh. 434, Antiph.) with ὁμηρ-εία f. (Pl., Th., Plb.), - ευμα n. (Plu.) `pledge, hostage', ἐξ-ευσις f. `hostage-taking' (Plu.).
    Origin: GR [a formation built with Greek elements]X [probably]
    Etymology: Prob. prop. with Curtius a.o. "who is together (with others), the companion, who is forced to go with", compound of ὁμοῦ and ἀρ- in ἀραρειν etc. w. similar meaningdevelopment as in Lat. obsēs (: obsideō) `hostage, bail' (but the root ἀρ- is difficult to understand). Slightly diff. Szemerényi Glotta 33, 363 ff.: the 2. member to ἐρ- in ἔρχομαι. The orig. meaning still in ὁμηρέω and ὁμηρέταις ὁμοψήφοις, ὁμογνώμοσιν H.; cf. also ὁμαρτέω and ἁμαρτή. -- Perhaps identical with this ὅμηρος = ὁ τυφλός (Lyc., H.), "because he goes with his leader" (Birt Phil. 87, 376ff.; cf. Kretschmer Glotta 22, 264)?; hardly convincing. Rather appellative use of the name of the poet (?). On attempts to connect the name Ο῝μηρος (Cret. Ο῝μαρος) wiht the appellative, s. except P.-W. 8, 2199 f. also Birt l.c. and Durante Rend. Acc. Lincei Ser. 8: 12, 94ff.; cf. Schwartz Herm. 75, 1ff., Bonfante, Par. Pass. 1968, 360; Posock, St. Mic. 4(1967)101; Deroy, Ant. Cl. 1972, 427.
    Page in Frisk: 2,386

    Greek-English etymological dictionary (Ελληνικά-Αγγλικά ετυμολογική λεξικό) > ὅμηρος

  • 10 στεῖρα 2

    στεῖρα 2.
    Grammatical information: f.,
    Meaning: `forepart of the keel, stem' (Α 482 = β 428), = τὸ ἐξέχον τῆς πρῴρας ξύλον κατὰ την τρόπιν H.; enlarged στείρωμα = τρόπις H.
    Other forms: Dat. - ρῃ.
    Derivatives: ἀνά-στειρος `with the prow pointing up, with a high stem' (Plb.).
    Origin: GR [a formation built with Greek elements]
    Etymology: Like 1. στεῖρα old feminine formation (cf. esp. the semant. close πρῳ̃ρα), beside στερεός (s.v.); so prop. "the rising up stiff " v. t.; the word is then identical to στεῖρα 1.
    Page in Frisk: 2,783

    Greek-English etymological dictionary (Ελληνικά-Αγγλικά ετυμολογική λεξικό) > στεῖρα 2

  • 11 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

  • 12 компонент ландшафта

    1. landscape component

     

    компонент ландшафта
    —
    [ http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]

    EN

    landscape component
    In visual assessment work, landscapes can be divided into four major elements. a) Form is the perceived mass or shape of an object that appears unified, and which provides a consciousness of its distinction and relation of a whole to the component parts. b) Line is the real or imagined path, border, boundary, or intersection of two planes, such as a silhouette, that the eye follows when perceiving abrupt differences in form, colour or texture. c) Colour is a visual perception that enables the eye to differenciate otherwise identical objects based on the wavelengths of reflected light. d) Texture is the visual feel of a landscape. (Source: DUNSTE)
    [http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]

    Тематики

    EN

    DE

    FR

    Русско-английский словарь нормативно-технической терминологии > компонент ландшафта

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