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meaningful empirical data

  • 1 meaningful empirical data

    Дипломатический термин: доказательные фактические данные

    Универсальный англо-русский словарь > meaningful empirical data

  • 2 meaningful empirical data

    Англо-русский дипломатический словарь > meaningful empirical data

  • 3 meaningful empirical data

    English-russian dctionary of diplomacy > meaningful empirical data

  • 4 data

    n (pl від datum) вихідні дані, факти
    - adjusted data оброблені дані, скоректовані дані
    - aggregated data сукупні дані, дані в цілому
    - available data наявні дані
    - basic data вихідні/ основні дані
    - complete data повні дані
    - continuous comparable data дані, що постійно порівнюються
    - crude data приблизні/ неточні дані
    - data assembling problem проблема збору даних
    - detailed data деталізовані/ докладні дані
    - discrepant data дані, що не збігаються
    - final data кінцеві/ остаточні дані
    - fragmentary data уривчасті дані
    - higher-quality data високоякісні дані
    - limitations data обмеження, передбачені досягнутими даними
    - meaningful empirical data важливі емпіричні дані
    - pertinent data необхідні дані; дані, що вимагаються
    - provisional data попередні дані
    - raw data первинні/ необроблені дані
    - recorded data дані, що публікуються/ повідомляються
    - reliable data надійні дані
    - represented data наведені дані
    - supplementary data додаткові дані
    - underlying data дані, що лежать в основі рішення/ висновку тощо
    - abundance of data велика кількість даних, надмірність даних
    - appraisal of data оцінка даних
    - comprehensive set of data вичерпний набір даних
    - continuity of data дані, що безперервно надходять
    - original sources of data першоджерело даних
    - sources of data джерела даних
    - to increase the usefulness of data підвищити ефективність/ корисність даних
    - to interpret data тлумачити дані
    - to supply data повідомляти/ передавати дані
    - to update the agreed data переглянути погоджені дані з точки зору внесення в них останніх відомостей; узгодження даних відповідно до поточного моменту
    - collection and processing of data збір і обробка даних

    English-Ukrainian diplomatic dictionary > data

  • 5 data

    (исходные) данные, факты; цифровые данные; фактические сведения; информация; статистические данные

    English-russian dctionary of diplomacy > data

  • 6 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

  • 7 Memory

       To what extent can we lump together what goes on when you try to recall: (1) your name; (2) how you kick a football; and (3) the present location of your car keys? If we use introspective evidence as a guide, the first seems an immediate automatic response. The second may require constructive internal replay prior to our being able to produce a verbal description. The third... quite likely involves complex operational responses under the control of some general strategy system. Is any unitary search process, with a single set of characteristics and inputoutput relations, likely to cover all these cases? (Reitman, 1970, p. 485)
       [Semantic memory] Is a mental thesaurus, organized knowledge a person possesses about words and other verbal symbols, their meanings and referents, about relations among them, and about rules, formulas, and algorithms for the manipulation of these symbols, concepts, and relations. Semantic memory does not register perceptible properties of inputs, but rather cognitive referents of input signals. (Tulving, 1972, p. 386)
       The mnemonic code, far from being fixed and unchangeable, is structured and restructured along with general development. Such a restructuring of the code takes place in close dependence on the schemes of intelligence. The clearest indication of this is the observation of different types of memory organisation in accordance with the age level of a child so that a longer interval of retention without any new presentation, far from causing a deterioration of memory, may actually improve it. (Piaget & Inhelder, 1973, p. 36)
       4) The Logic of Some Memory Theorization Is of Dubious Worth in the History of Psychology
       If a cue was effective in memory retrieval, then one could infer it was encoded; if a cue was not effective, then it was not encoded. The logic of this theorization is "heads I win, tails you lose" and is of dubious worth in the history of psychology. We might ask how long scientists will puzzle over questions with no answers. (Solso, 1974, p. 28)
       We have iconic, echoic, active, working, acoustic, articulatory, primary, secondary, episodic, semantic, short-term, intermediate-term, and longterm memories, and these memories contain tags, traces, images, attributes, markers, concepts, cognitive maps, natural-language mediators, kernel sentences, relational rules, nodes, associations, propositions, higher-order memory units, and features. (Eysenck, 1977, p. 4)
       The problem with the memory metaphor is that storage and retrieval of traces only deals [ sic] with old, previously articulated information. Memory traces can perhaps provide a basis for dealing with the "sameness" of the present experience with previous experiences, but the memory metaphor has no mechanisms for dealing with novel information. (Bransford, McCarrell, Franks & Nitsch, 1977, p. 434)
       7) The Results of a Hundred Years of the Psychological Study of Memory Are Somewhat Discouraging
       The results of a hundred years of the psychological study of memory are somewhat discouraging. We have established firm empirical generalisations, but most of them are so obvious that every ten-year-old knows them anyway. We have made discoveries, but they are only marginally about memory; in many cases we don't know what to do with them, and wear them out with endless experimental variations. We have an intellectually impressive group of theories, but history offers little confidence that they will provide any meaningful insight into natural behavior. (Neisser, 1978, pp. 12-13)
       A schema, then is a data structure for representing the generic concepts stored in memory. There are schemata representing our knowledge about all concepts; those underlying objects, situations, events, sequences of events, actions and sequences of actions. A schema contains, as part of its specification, the network of interrelations that is believed to normally hold among the constituents of the concept in question. A schema theory embodies a prototype theory of meaning. That is, inasmuch as a schema underlying a concept stored in memory corresponds to the mean ing of that concept, meanings are encoded in terms of the typical or normal situations or events that instantiate that concept. (Rumelhart, 1980, p. 34)
       Memory appears to be constrained by a structure, a "syntax," perhaps at quite a low level, but it is free to be variable, deviant, even erratic at a higher level....
       Like the information system of language, memory can be explained in part by the abstract rules which underlie it, but only in part. The rules provide a basic competence, but they do not fully determine performance. (Campbell, 1982, pp. 228, 229)
       When people think about the mind, they often liken it to a physical space, with memories and ideas as objects contained within that space. Thus, we speak of ideas being in the dark corners or dim recesses of our minds, and of holding ideas in mind. Ideas may be in the front or back of our minds, or they may be difficult to grasp. With respect to the processes involved in memory, we talk about storing memories, of searching or looking for lost memories, and sometimes of finding them. An examination of common parlance, therefore, suggests that there is general adherence to what might be called the spatial metaphor. The basic assumptions of this metaphor are that memories are treated as objects stored in specific locations within the mind, and the retrieval process involves a search through the mind in order to find specific memories....
       However, while the spatial metaphor has shown extraordinary longevity, there have been some interesting changes over time in the precise form of analogy used. In particular, technological advances have influenced theoretical conceptualisations.... The original Greek analogies were based on wax tablets and aviaries; these were superseded by analogies involving switchboards, gramophones, tape recorders, libraries, conveyor belts, and underground maps. Most recently, the workings of human memory have been compared to computer functioning... and it has been suggested that the various memory stores found in computers have their counterparts in the human memory system. (Eysenck, 1984, pp. 79-80)
       Primary memory [as proposed by William James] relates to information that remains in consciousness after it has been perceived, and thus forms part of the psychological present, whereas secondary memory contains information about events that have left consciousness, and are therefore part of the psychological past. (Eysenck, 1984, p. 86)
       Once psychologists began to study long-term memory per se, they realized it may be divided into two main categories.... Semantic memories have to do with our general knowledge about the working of the world. We know what cars do, what stoves do, what the laws of gravity are, and so on. Episodic memories are largely events that took place at a time and place in our personal history. Remembering specific events about our own actions, about our family, and about our individual past falls into this category. With amnesia or in aging, what dims... is our personal episodic memories, save for those that are especially dear or painful to us. Our knowledge of how the world works remains pretty much intact. (Gazzaniga, 1988, p. 42)
       The nature of memory... provides a natural starting point for an analysis of thinking. Memory is the repository of many of the beliefs and representations that enter into thinking, and the retrievability of these representations can limit the quality of our thought. (Smith, 1990, p. 1)

    Historical dictionary of quotations in cognitive science > Memory

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