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1 they are entirely unrelated
Общая лексика: они не находятся в родственных отношенияхУниверсальный англо-русский словарь > they are entirely unrelated
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2 unrelated
tr[ʌnrɪ'leɪtɪd]1 (unconnected) no relacionado,-a, inconexo,-a2 (family) sin parentesco■ John James and Mary James are unrelated John James y Mary James no guardan ningún parentesco entre síunrelated [.ʌnri'leɪt̬əd] adj: no relacionado, inconexoadj.• inconexo, -a adj.• sin parentesco adj.'ʌnrɪ'leɪtəd, ˌʌnrɪ'leɪtɪdadjective <facts/events> no relacionados (entre sí)['ʌnrɪ'leɪtɪd]ADJ1) (=unconnected) inconexo2) (by family) no emparentado* * *['ʌnrɪ'leɪtəd, ˌʌnrɪ'leɪtɪd]adjective <facts/events> no relacionados (entre sí) -
3 unrelated
unrelated [ˈʌnrɪˈleɪtɪd]a. ( = unconnected) [incident, event, case] sans rapportb. ( = from different families) they are unrelated ils n'ont aucun lien de parenté* * *[ˌʌnrɪ'leɪtɪd]1) ( not logically connected) sans rapport (to avec)his success is not unrelated to the fact that he has money — son succès n'est pas sans rapport avec sa fortune
2) ( as family) -
4 unrelated
adjectivebe unrelated — (not connected) nicht miteinander zusammenhängen; (not related by family) nicht [miteinander] verwandt sein
be unrelated to something — mit etwas in keinem Zusammenhang stehen
* * *un·re·lat·ed[ˌʌnrɪˈleɪtɪd, AM -t̬-]2. (not logically connected)* * *["ʌnrI'leItɪd]adj(= unconnected) ohne Beziehung (to zu); (by family) nicht verwandtthe two events are unrelated/are not unrelated — die beiden Ereignisse stehen in keinem Zusammenhang miteinander/sind nicht gänzlich ohne Zusammenhang
* * *unrelated adj1. ohne Beziehung (to, with zu)2. nicht verwandt (to, with mit) (auch fig)3. nicht berichtet* * *adjectivebe unrelated — (not connected) nicht miteinander zusammenhängen; (not related by family) nicht [miteinander] verwandt sein
* * *adj.ohne Beziehung ausdr.unverwandt adj. -
5 unrelated
[ˌʌnrɪ'leɪtɪd]1) (not logically connected) non collegato, non correlato (to a), senza nesso (to con)his success is not unrelated to the fact that he has money — il suo successo non è del tutto scollegato dal fatto che ha molti soldi
2) (as family)* * *unrelated /ʌnrɪˈleɪtɪd/a.1 non correlato; senza rapporto (con qc.): His arrest was unrelated to the previous incident, il suo arresto non aveva alcun rapporto con il precedente incidente2 non imparentato (con q.): Although they have the same surname, they are unrelated, nonostante abbiano lo stesso cognome, non sono imparentati* * *[ˌʌnrɪ'leɪtɪd]1) (not logically connected) non collegato, non correlato (to a), senza nesso (to con)his success is not unrelated to the fact that he has money — il suo successo non è del tutto scollegato dal fatto che ha molti soldi
2) (as family) -
6 unrelated
adj. 1. неповрзан (случки/настани); be unrelated to sth не е поврзан со нешто; нема ништо (заедничко) со: Two of them died from apparently unrelated causes Двајца (од нив) умреа од очигледно неповрзани причини2. несроден: They are unrelated to each other Тие двајца не се во сродство -
7 unrelated
[ˌʌnri΄leitid] a կապ չունեցող. They are unrelated Նրանք հարազատներ չեն. The theory is quite unrelated to Այդ տեսությունը ոչ մի կապ չունի -
8 unrelated
adj2) неродинний; що не має родинних зв'язків3) нерозказаний* * *[enri'leitid]a1) незв'язаний, такий, що не має відношенняthey are entirely unrelated — вони не знаходяться в споріднених відносинах; незв'язаний, роз'єднаний
3) нерозказаний -
9 unrelated
[͵ʌnrıʹleıtıd] a1. несвязанный, не имеющий отношенияunrelated to the realities of life - не имеющий отношения к реальной действительности
2. 1) неродственный2) несвязанный, разобщённый3. нерассказанный -
10 unrelated
[enri'leitid]a1) незв'язаний, такий, що не має відношенняthey are entirely unrelated — вони не знаходяться в споріднених відносинах; незв'язаний, роз'єднаний
3) нерозказаний -
11 unrelated
1. a несвязанный, не имеющий отношения2. a неродственный3. a несвязанный, разобщённый4. a нерассказанныйСинонимический ряд:1. different (adj.) different; dissimilar; distinct2. extraneous (adj.) extraneous; inappropriate; irrelevant3. separate (adj.) abstract; alien; apart; foreign; independent; isolated; separate; special; unattached; unconnectedАнтонимический ряд:connected; germane; identical; similar -
12 unrelated
ˈʌnrɪˈleɪtɪd прил. несвязанный, не имеющий отношения (to) несвязанный, не имеющий отношения - * to the realities of life не имеющий отношения к реальной действительности неродственный - they are entirely * они не находятся в родственных отношениях несвязанный, разобщенный нерассказанный - to leave a fact * cкрыть факт unrelated не имеющий отношения ~ неродственный ~ несвязанный, не имеющий отношения (to) ~ несвязанный ~ to operations не связанный с производственным процессом ~ to operations не связанный с производствомБольшой англо-русский и русско-английский словарь > unrelated
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13 Intellectuals
There is a line among the fragments of the Greek poet Archilochus which says: "The fox knows many things, but the hedgehog knows one big thing." Scholars have differed about the correct interpretation of these dark words, which may mean no more than that the fox, for all his cunning, is defeated by the hedgehog's one defence. But, taken figuratively, the words can be made to yield a sense in which they mark one of the deepest differences which divide writers and thinkers, and, it may be, human beings in general. For there exists a great chasm between those, on one side, who relate everything to a single central vision, one system, less or more coherent or articulate, in terms of which they understand, think and feel-a single, universal, organising principle in terms of which alone all that they are and say has significance-and, on the other side, those who pursue many ends, often unrelated and even contradictory, connected, if at all, only in some de facto way, for some psychological or physiological cause, related by no moral or aesthetic principle.... The first kind of intellectual and artistic personality belongs to the hedgehogs, the second to the foxes; and without insisting on a rigid classification, we may, without too much fear of contradiction, say that, in this sense, Dante belongs to the first category, Shakespeare to the second; Plato, Lucretius, Pascal, Hegel, Dostoevsky, Nietsche, Ibsen, [and] Proust are, in varying degrees hedgehogs; Herodotus, Aristotle, Montaigne, Erasmus, Molie`re, Goethe, Pushkin, Balzac, [and] Joyce are foxes. (Berlin, 1953, pp. 1-2; Archilochus, 1971, frag. 201)Historical dictionary of quotations in cognitive science > Intellectuals
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14 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 DisorderEven 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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15 Introspection
1) Experimental Introspection Is the One Reliable Method of Knowing OurselvesWhen we are trying to understand the mental processes of a child or a dog or an insect as shown by conduct and action, the outward signs of mental processes,... we must always fall back upon experimental introspection... [;] we cannot imagine processes in another mind that we do not find in our own. Experimental introspection is thus our one reliable method of knowing ourselves; it is the sole gateway to psychology. (Titchener, 1914, p. 32)There is a somewhat misleading point of view that one's own experience provides a sufficient understanding of mental life for scientific purposes. Indeed, early in the history of experimental psychology, the main method for studying cognition was introspection. By observing one's own mind, the argument went, one could say how one carried out cognitive activities....Yet introspection failed to be a good technique for the elucidation of mental processes in general. There are two simple reasons for this. First, so many things which we can do seem to be quite unrelated to conscious experience. Someone asks you your name. You do not know how you retrieve it, yet obviously there is some process by which the retrieval occurs. In the same way, when someone speaks to you, you understand what they say, but you do not know how you came to understand. Yet somehow processes take place in which words are picked out from the jumble of sound waves which reach your ears, in-built knowledge of syntax and semantics gives it meaning, and the significance of the message comes to be appreciated. Clearly, introspection is not of much use here, but it is undeniable that understanding language is as much a part of mental life as is thinking.As if these arguments were not enough, it is also the case that introspective data are notoriously difficult to evaluate. Because it is private to the experiencer, and experience may be difficult to convey in words to somebody else. Many early introspective protocols were very confusing to read and, even worse, the kinds of introspection reported tended to conform to the theoretical categories used in different laboratories. Clearly, what was needed was both a change in experimental method and a different (non-subjective) theoretical framework to describe mental life. (Sanford, 1987, pp. 2-3)Historical dictionary of quotations in cognitive science > Introspection
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16 positive
ˈpɔzətɪv
1. прил.
1) а) позитивный, реальный, прямо выраженный, точный - positive philosophy Syn: stated, explicit, express, definite, precise, practical, realistic б) несомненный, определенный, точный в) уверенный And I'm positive if Uncle Conrad and Aunt Ginny were millionaires, they would've furnished you with a whole bedroom set. ≈ И я совершенно уверен, что если бы твои дядя Конрад и тетя Джинни были миллионеры, они бы обставили тебе целиком всю спальню (К.Тарантино, "Криминальное чтиво"). Syn: sure, convinced, assured г) разг. абсолютный, в полном смысле слова Syn: unqualified, unrelated, absolute
2) положительный, позитивный positive philosophy Syn: good
3) самоуверенный
4) специальные термины а) грам. положительный (о степени сравнения прилагательных) б) мат. положительный в) фото позитивный г) тех. принудительный( о движении)
2. сущ.
1) нечто реальное
2) грам. положительная степень сравнение прилагательного
3) фото позитив
4) позитив, нечто хорошее
5) муз. позитив (тип органа) нечто положительное, положительность нечто реальное, реальность (грамматика) положительная степень( фотографическое) позитив сокр. от positive quantity положительная величина (электротехника) положительная пластина( элемента) (музыкальное) (церковное) позитив (небольшой переносной орган;
тж. * organ) несомненный;
определенный, совершенно ясный - * proof несомненное доказательство точный, определенный - * orders точные приказания - * promises определенные /недвусмысленные/ обещания решительный;
категорический - * order категорический приказ - * refusal решительный /категорический/ отказ положительный, утвердительный - * reaction to a suggestion положительная реакция на предложение верный, достоверный - * information достоверные сведения - * ore (геология) достоверные запасы руды уверенный (в чем-л.), убежденный в правильности (чего-л.) - are you sure? - Yes, I am * вы уверены? - Да, совершенно /абсолютно/ - he is * of his facts /on that point/ он (абсолютно) уверен в этом - I'm * (that) I saw him я (совершенно) уверен, что видел его самоуверенный - a * sort of man самоуверенный человек - * tone of voice безапелляционный тон - don't be so * не будьте так категоричны /самоуверенны/ настоящий, определенный - * help настоящая /конкретная/ помощь - * miracle (самое) настоящее чудо( разговорное) абсолютный, сущий;
законченный - * fool абсолютный /сущий, настоящий/ дурак - he is a * nuisance он просто невыносим - it's a * shame просто стыдно абсолютный, безусловный, безотносительный - the idea of beauty is not * понятие красоты условно позитивный;
конструктивный - * philosophy позитивизм - * criticism конструктивная критика - * approach конструктивный подход - * law (юридическое) позитивное /действующее/ право( грамматика) положительный (о степени) (математика) положительный - * quantity положительная величина - the * sign положительный знак, (знак) плюс( физическое) положительный (о заряде и т. п.) - * current положительный ток - * charge положительный заряд - * electrode анод (биохимия) положительный (о реакции и т. п.) (биология) положительный (о тропизме) (фотографическое) позитивный (техническое) принудительный;
нагнетательный;
вдувной - * blower нагнетательный вентилятор - * draft искусственная тяга - * motion принудительное движение;
движение без проскальзывания - * pressure давление выше атмосферного( специальное) движущийся, вращающийся по часовой стрелке;
правовращающийся (оптика) вращающий плоскость поляризации вправо( оптика) собирающий( о линзах) ~ уверенный;
I am positive that this is so я уверен, что это так positive разг. абсолютный, в полном смысле слова ~ абсолютный ~ конструктивный ~ несомненный ~ нечто реальное ~ определенный ~ определенный, несомненный, точный ~ позитивный;
positive philosophy позитивизм ~ позитивный ~ грам. положительная степень ~ мат. положительный;
positive sign знак плюс ~ грам. положительный (о степени) ~ положительный ~ положительный ~ тех. принудительный (о движении) ~ самоуверенный ~ точный ~ уверенный;
I am positive that this is so я уверен, что это так ~ утвердительный ~ фото позитив ~ фото позитивный ~ позитивный;
positive philosophy позитивизм ~ мат. положительный;
positive sign знак плюсБольшой англо-русский и русско-английский словарь > positive
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