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the artist's blue period

  • 1 época

    f.
    epoch, era, season, age.
    * * *
    1 time, age
    2 HISTORIA period, epoch
    3 AGRICULTURA season, time
    \
    hacer época to be a landmark, make history
    por aquella época about that time
    ser de su época to be with the times
    * * *
    noun f.
    age, epoch, time, period
    * * *
    SF
    1) (=momento histórico) age, period, epoch frm

    durante la época isabelina — in Elizabethan times, in the Elizabethan era o age

    en aquella época — at that time, in that period

    hacer época — to be epoch-making, be a landmark

    época de la serpiente de mar — hum silly season

    2) (tb: época del año) (=temporada) season, time of year

    época de celo — (Zool) mating season, rutting season

    * * *
    a) ( período de tiempo - en la historia) time, period; (- en la vida) time

    en la época de Franco — in Franco's time, under Franco

    en aquella época — in those days o at that time

    hacer época: un grupo musical que hizo época — a group which marked a new era in musical history

    b) ( parte del año) time of year
    c) (Geol) epoch
    * * *
    = era, epoch, age, period, time.
    Ex. Thus, as we stand on the threshold of what is undoubtedly a new era in catalog control, it is worth considering to what extent the traditional services of the Library will continue in the forms now available.
    Ex. The epoch of management inquiry and research has largely developed during this century, and many schools of thought have tried to formulate the underlying principles of management.
    Ex. He was a frank elitist living in an age of rampant equalitarianism.
    Ex. Library use declines during the June-October period when examinations have finished and the students are on vacation.
    Ex. The following highlights are what this first class of Fellows recall of their time overseas.
    ----
    * anormal para la época del año = unseasonably.
    * atípico para la época del año = unseasonably.
    * coche de época = vintage car.
    * de época = vintage.
    * de esa época = of the period.
    * de la época = of the time(s), of the day.
    * de la época isabelina = Elizabethan.
    * de la época victoriana = Victorian.
    * de + Posesivo + época = of + Posesivo + day.
    * desde la época de = since the days of/when.
    * desde la época prehistórica = since prehistoric times.
    * desde su época = since + Posesivo + day.
    * de su época = of + Posesivo + time.
    * de una época anterior = vestigial.
    * el espíritu de la época = the spirit of the times.
    * en aquella época = at the time, at that time, in those days.
    * en época de paz = in peacetime, during peacetime.
    * en épocas anteriores = in former times, in past eras.
    * en épocas de = in times of.
    * en épocas de guerra = in time(s) of war.
    * en épocas de paz = in time(s) of peace.
    * en épocas de prosperidad económica = in affluent times.
    * en épocas difíciles = in times of need.
    * en épocas pasadas = in past ages.
    * en esta época del año = around this time of year.
    * en la época de posguerra = in the postwar period.
    * en la época prehistórica = in prehistoric times.
    * en la misma época = contemporaneously.
    * en + Posesivo + época = in + Posesivo + time.
    * en una época de = in a period of.
    * en una época de transición = in a period of transition.
    * en una época en donde = in an age where.
    * época clásica, la = classical age, the.
    * época colonial = frontier days, colonial times.
    * época del año = season.
    * época del celo = rutting, rutting season.
    * época de lluvias = rainy season.
    * época de paz = peacetime [peace time].
    * época de plantar = planting time.
    * época de vacaciones = holiday season.
    * época dorada = glory days.
    * época lluviosa = rainy season.
    * época medieval = mediaeval period [medieval period, -USA], mediaeval times [medieval times, -USA].
    * época pasada = bygone era.
    * época postcolonial = post-colonial times.
    * épocas anteriores = earlier times.
    * época universitaria = school days.
    * época victoriana, la = Victorian Era, the.
    * esa época ya pasó hace tiempo = that time is long past.
    * hubo una época en la que = there was a time when.
    * Inglaterra de la época victoriana = Victorian England.
    * la época de Algo = in season.
    * novela de época = period novel.
    * posterior a la época esclavista = post-slavery.
    * primera época, la = early days, the.
    * que hace época = epoch-making.
    * que hizo época = epochal.
    * que marca época = landmark.
    * ser una buena época = be a good time.
    * tendencia de la época, la = trend of the times, the.
    * típico de la época = olde quaynte.
    * * *
    a) ( período de tiempo - en la historia) time, period; (- en la vida) time

    en la época de Franco — in Franco's time, under Franco

    en aquella época — in those days o at that time

    hacer época: un grupo musical que hizo época — a group which marked a new era in musical history

    b) ( parte del año) time of year
    c) (Geol) epoch
    * * *
    = era, epoch, age, period, time.

    Ex: Thus, as we stand on the threshold of what is undoubtedly a new era in catalog control, it is worth considering to what extent the traditional services of the Library will continue in the forms now available.

    Ex: The epoch of management inquiry and research has largely developed during this century, and many schools of thought have tried to formulate the underlying principles of management.
    Ex: He was a frank elitist living in an age of rampant equalitarianism.
    Ex: Library use declines during the June-October period when examinations have finished and the students are on vacation.
    Ex: The following highlights are what this first class of Fellows recall of their time overseas.
    * anormal para la época del año = unseasonably.
    * atípico para la época del año = unseasonably.
    * coche de época = vintage car.
    * de época = vintage.
    * de esa época = of the period.
    * de la época = of the time(s), of the day.
    * de la época isabelina = Elizabethan.
    * de la época victoriana = Victorian.
    * de + Posesivo + época = of + Posesivo + day.
    * desde la época de = since the days of/when.
    * desde la época prehistórica = since prehistoric times.
    * desde su época = since + Posesivo + day.
    * de su época = of + Posesivo + time.
    * de una época anterior = vestigial.
    * el espíritu de la época = the spirit of the times.
    * en aquella época = at the time, at that time, in those days.
    * en época de paz = in peacetime, during peacetime.
    * en épocas anteriores = in former times, in past eras.
    * en épocas de = in times of.
    * en épocas de guerra = in time(s) of war.
    * en épocas de paz = in time(s) of peace.
    * en épocas de prosperidad económica = in affluent times.
    * en épocas difíciles = in times of need.
    * en épocas pasadas = in past ages.
    * en esta época del año = around this time of year.
    * en la época de posguerra = in the postwar period.
    * en la época prehistórica = in prehistoric times.
    * en la misma época = contemporaneously.
    * en + Posesivo + época = in + Posesivo + time.
    * en una época de = in a period of.
    * en una época de transición = in a period of transition.
    * en una época en donde = in an age where.
    * época clásica, la = classical age, the.
    * época colonial = frontier days, colonial times.
    * época del año = season.
    * época del celo = rutting, rutting season.
    * época de lluvias = rainy season.
    * época de paz = peacetime [peace time].
    * época de plantar = planting time.
    * época de vacaciones = holiday season.
    * época dorada = glory days.
    * época lluviosa = rainy season.
    * época medieval = mediaeval period [medieval period, -USA], mediaeval times [medieval times, -USA].
    * época pasada = bygone era.
    * época postcolonial = post-colonial times.
    * épocas anteriores = earlier times.
    * época universitaria = school days.
    * época victoriana, la = Victorian Era, the.
    * esa época ya pasó hace tiempo = that time is long past.
    * hubo una época en la que = there was a time when.
    * Inglaterra de la época victoriana = Victorian England.
    * la época de Algo = in season.
    * novela de época = period novel.
    * posterior a la época esclavista = post-slavery.
    * primera época, la = early days, the.
    * que hace época = epoch-making.
    * que hizo época = epochal.
    * que marca época = landmark.
    * ser una buena época = be a good time.
    * tendencia de la época, la = trend of the times, the.
    * típico de la época = olde quaynte.

    * * *
    1 (período de tiempo — en la historia) time, period; (— en la vida) time
    una época de grandes cambios sociales a period o time o an age of great social change
    durante la época victoriana in Victorian times, in the Victorian age o era
    en la época de Franco in Franco's time, under Franco
    una época gloriosa de nuestra historia a glorious time in o period of our history
    en aquella época había dos pretendientes al trono at that time o in that period o during that period there were two pretenders to the throne
    muebles de época period furniture
    la época más feliz de su vida the happiest time o period of her life
    en aquella época yo trabajaba en la fábrica in those days o at that time I was working in the factory
    en épocas de crisis in times of crisis
    está pasando por una buena época she's doing very well
    hacer época: un grupo musical que hizo época a group which represented a landmark o marked a new era in musical history
    2 (parte del año) time of year
    odio esta época del año I hate this time of year
    durante la época de lluvias during the rainy season
    no es época de naranjas oranges are not in season at the moment, it's the wrong time of year for oranges
    es la época de las cometas it's the kite-flying season
    3 ( Geol) epoch
    una formación de la época eocena a formation of the Eocene epoch
    Compuestos:
    mating season
    ● época dorada or de oro
    golden age
    * * *

     

    época sustantivo femenino


    la época de los Tudor the Tudor period;
    muebles de época period furniture;
    en aquella época in those days o at that time;
    esa época de mi vida that period of my life;
    es música de mi época it's music from my time


    época sustantivo femenino
    1 (periodo de tiempo) period, time: vivió en la época de Felipe II, he lived in the time of Felipe the second
    en aquella época, at that time
    2 Agr season: es época de vendimia, it's grape harvest season
    no es época de fresas, strawberries aren't in season
    3 Geol age, epoch
    ♦ Locuciones: hacer época, to be a landmark
    ' época' also found in these entries:
    Spanish:
    antigüedad
    - apuro
    - estrechez
    - extemporánea
    - extemporáneo
    - marco
    - moral
    - recrear
    - remontarse
    - temporada
    - tiempo
    - traje
    - transcurrir
    - adelantar
    - conflictivo
    - cosecha
    - dorado
    - edad
    - era
    - extender
    - lejano
    - lluvioso
    - manifestación
    - momento
    - pasado
    - paz
    - remoto
    - suceder
    English:
    accomplished
    - age
    - antique
    - dawn
    - day
    - epoch
    - later
    - mating season
    - period
    - season
    - time
    - vintage
    - contemporary
    - era
    - golden
    - peace
    * * *
    época nf
    1. [periodo histórico] epoch, era;
    la época victoriana the Victorian era;
    en la época de Zapata at the time of Zapata;
    en aquella época los dinosaurios poblaban la Tierra at that time dinosaurs roamed the Earth;
    coche de época vintage car;
    muebles de época period furniture;
    vestido de época period dress;
    hacer época to become a symbol of its time;
    una película/una victoria de las que hacen época a movie/victory that will go down in history
    2. [periodo de la vida] period;
    prefiere no recordar esa época de su vida he prefers not to recall that period in his life;
    en aquella época vivíamos en Manchester at that time we lived in Manchester;
    lleva una época larga sin trabajar he's been out of work for a long period;
    la empresa ha pasado por una mala época the company has been through a bad spell
    3. [estación] season;
    la época de las lluvias the rainy season;
    la época del apareamiento the mating season
    4. Geol age
    * * *
    f
    1 time, period;
    en aquella época at that time;
    hacer época be epoch-making
    2 parte del año time of year
    3 GEOL epoch
    * * *
    época nf
    1) edad, era, período: epoch, age, period
    2) : time of year, season
    3)
    de época : vintage, antique
    * * *
    época n time
    su época de estudiante his student days / when he was a student

    Spanish-English dictionary > época

  • 2 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

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