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turns of the pattern

Толкование Перевод

1 turn

поворот, разворот; вираж; оборот; виток ( штопора) ; изменение направления движения; pl. разг. обороты, число оборотов; выполнять разворот; изменять курс

1/2 standard turn — разворот с угловой скоростью, составляющей половину от стандартной

180° climbing vertical turn — разворот на 180° в вертикальной плоскости с набором высоты, половина восходящей петли

180° vertical turn turning only to one side — разворот на 180° на вертикали [вертикальный маневр с изменением направления полёта на 180°], выполняемый в одну сторону

180° vertical turn turning to both sides — разворот на 180° на вертикали [вертикальный маневр с изменением направления полёта на 180°], выполняемый в обе стороны

180-degree turn — разворот на 180°; разг. возвращение домой [обратно, на базу]

360° horizontal turn — замкнутый вираж в горизонтальной плоскости

360-degree turn — разворот на 360°, полный [замкнутый] вираж

4 minute turn — разворот на 360° за 4 минуты, четырёхминутный разворот

6-positive-g turn — разворот с шестикратной положительной перегрузкой

90° climbing vertical turn — «свеча», переход в вертикальный набор высоты

90° vertical turn — разворот на 90° на вертикали, вертикальный маневр с изменением направления полёта на 90°

90-degree turn — разворот на 90°

climbing-diving 180° vertical turn — разворот на 180" с набором высоты и последующим пикированием

come out of the turn — выходить из разворота

diving-climbing 180° vertical turn — разворот на 180° с пикированием и последующим набором высоты

full needle width turn — разворот на полную ширину стрелки (указателя поворота и скольжения), двух- или четырёхминутный разворот (на 360°)

get into a turn — вводить [входить] в разворот

go into a turn — вводить [входить] в разворот

in the opposite direction to the turn — в направлении, противоположном направлению разворота

jet penetration type turn — разворот, характерный для реактивных самолётов, снижающихся с пробиванием облачности

keep the turns up — разг. сохранять нарастание числа оборотов

Mach 0.6 turn — разворот на скорости, соответствующей числу М=0,6

make a sharp turn out (of...) — резко отворачивать в сторону (от...)

one and one-half degree per second turn — разворот с угловой скоростью 1,5 град/с

pull 3g turn — выполнять разворот с трёхкратной (положительной) перегрузкой

put into a turn — вводить в разворот

rate 1/2 turn — разворот на 180° за две минуты

rate 1 turn — разворот на 180° за одну минуту

rate 3 turn — разворот на 180° за 1/4 минуты (с угловой скоростью 12 град/с)

rate 2 turn — разворот на 180° за полминуты (с угловой скоростью 6 град/с)

rate 4 turn — разворот на 180° за 7,5 секунды (с угловой скоростью 24 град/с)

roll out of turn — убирать крен при выходе из разворота; выходить из разворота с убиранием крена

turn on the black-out threshold — разворот с перегрузкой до потемнения в глазах

turn pulling 2g — разворот с двухкратной положительной перегрузкой

turn turn out of traffic — отворот в сторону от направления движения других самолётов

turn with vertical bank — вираж с креном 90°, отвесный вираж, вираж «на лезвии»

turn with vertical inclination — вираж с креном 90°, отвесный вираж, вираж «на лезвии»

turns of the pattern — развороты при полете по кругу [по «коробочке»] над аэродромом

— accelerated turn

— aerodynamic turn

— aileron turn

— aileron-alone turn

— autorotative turn

— banked turn

— banking turn

— base-leg turn

— brisk turn

— buffet free turn

— clearing turns

— climbing turn

— climbing vertical turn

— close turn

— cloverleaf turn

— combat turn

— commence a turn

— constant G turn

— constant rate turn

— constant speed turn

— constant-altitude turn

— continuous gliding turn

— coordinated turn

— correctly banked turn

— decelerating turn

— delay a turn

— Derry turn

— descending turn

— descending vertical turn

— diving turn

— double Immelmann turns

— double-needle-wldth turn

— downward-pitched turn

— downwind turn

— final turn

— flat turn

— flat-attitude turn

— flick turn

— gentle turn

— gliding turn

— gravity turn

— hard turn

— high G turn

— high-performance turn

— horizontal turn

— hovering turn

— immelmann turn

— impulsive orbit-plane turn

— inside turn

— inverted position turn

— jerky turn

— level turn

— line-up turn

— maximum performance turn

— medium turn

— minimum-fuel turn

— minimum-time turn

— minor-circle turn

— negative acceleration turn

— negative turn

— one-degree turn

— one-engine turn

— one-minute turn

— one-needle-width turn

— on-the-spot turn

— opposing turns

— outside turn

— penetration turn

— pivoting turn

— play the turn

— positive acceleration turn

— power limited turn

— precision turn

— procedure turn

— programed turn

— rendezvous turn

— reverse turn

— S turns

— shallow turn

— sharp turn

— short-radius turn

— single-needle-width turn

— skid turn

— slightly descending turn

— slip turn

— smooth turn

— spin turn

— stall limited turn

— stall turn

— standard rate turn

— steady turn

— steep climbing turn

— steep level turn

— steeply-banked turn

— supersonic turn

— sustained turn

— synergetic turn

— taxiing turn

— taxiway turn

— three-dimensional turn

— tighten the turn

— timed turn

— trajectory gravitational turn

— turn around

— turn away

— turn back

— turn from inverted

— turn inbound

— turn inward

— turn left

— turn out

— turn over

— turn to final

— turn violently

— U turn

— upwind turn

— vertical turn

— wide turn

— windup turn

Englsh-Russian aviation and space dictionary > turn
2 Creativity

   1) All Human Complex Problem Solving Is Creativity

   Put in this bald way, these aims sound utopian. How utopian they areor rather, how imminent their realization-depends on how broadly or narrowly we interpret the term "creative." If we are willing to regard all human complex problem solving as creative, then-as we will point out-successful programs for problem solving mechanisms that simulate human problem solvers already exist, and a number of their general characteristics are known. If we reserve the term "creative" for activities like discovery of the special theory of relativity or the composition of Beethoven's Seventh Symphony, then no example of a creative mechanism exists at the present time. (Simon, 1979, pp. 144-145)

   2) Artificial Intelligence Models of Creative Association

   Among the questions that can now be given preliminary answers in computational terms are the following: how can ideas from very different sources be spontaneously thought of together? how can two ideas be merged to produce a new structure, which shows the inﬂuence of both ancestor ideas without being a mere "cut-and-paste" combination? how can the mind be "primed," so that one will more easily notice serendipitous ideas? why may someone notice-and remember-something fairly uninteresting, if it occurs in an interesting context? how can a brief phrase conjure up an entire melody from memory? and how can we accept two ideas as similar ("love" and "prove" as rhyming, for instance) in respect of a feature not identical in both? The features of connectionist AI models that suggest answers to these questions are their powers of pattern completion, graceful degradation, sensitization, multiple constraint satisfaction, and "best-fit" equilibration.... Here, the important point is that the unconscious, "insightful," associative aspects of creativity can be explained-in outline, at least-by AI methods. (Boden, 1996, p. 273)

   3) Creative Innovation and Social Independence

   There thus appears to be an underlying similarity in the process involved in creative innovation and social independence, with common traits and postures required for expression of both behaviors. The difference is one of product-literary, musical, artistic, theoretical products on the one hand, opinions on the other-rather than one of process. In both instances the individual must believe that his perceptions are meaningful and valid and be willing to rely upon his own interpretations. He must trust himself sufficiently that even when persons express opinions counter to his own he can proceed on the basis of his own perceptions and convictions. (Coopersmith, 1967, p. 58)

   4) Ego Strength and Emotional Stability among Creative Geniuses

   he average level of ego strength and emotional stability is noticeably higher among creative geniuses than among the general population, though it is possibly lower than among men of comparable intelligence and education who go into administrative and similar positions. High anxiety and excitability appear common (e.g. Priestley, Darwin, Kepler) but full-blown neurosis is quite rare. (Cattell & Butcher, 1970, p. 315)

   5) Its Mundane Character

   he insight that is supposed to be required for such work as discovery turns out to be synonymous with the familiar process of recognition; and other terms commonly used in the discussion of creative work-such terms as "judgment," "creativity," or even "genius"-appear to be wholly dispensable or to be definable, as insight is, in terms of mundane and well-understood concepts. (Simon, 1989, p. 376)

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

   From the sketch material still in existence, from the condition of the fragments, and from the autographs themselves we can draw definite conclusions about Mozart's creative process. To invent musical ideas he did not need any stimulation; they came to his mind "ready-made" and in polished form. In contrast to Beethoven, who made numerous attempts at shaping his musical ideas until he found the definitive formulation of a theme, Mozart's first inspiration has the stamp of finality. Any Mozart theme has completeness and unity; as a phenomenon it is a Gestalt. (Herzmann, 1964, p. 28)

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

   Great artists enlarge the limits of one's perception. Looking at the world through the eyes of Rembrandt or Tolstoy makes one able to perceive aspects of truth about the world which one could not have achieved without their aid. Freud believed that science was adaptive because it facilitated mastery of the external world; but was it not the case that many scientific theories, like works of art, also originated in phantasy? Certainly, reading accounts of scientific discovery by men of the calibre of Einstein compelled me to conclude that phantasy was not merely escapist, but a way of reaching new insights concerning the nature of reality. Scientific hypotheses require proof; works of art do not. Both are concerned with creating order, with making sense out of the world and our experience of it. (Storr, 1993, p. xii)

   8) Self- Esteem and Creative Expression

   The importance of self-esteem for creative expression appears to be almost beyond disproof. Without a high regard for himself the individual who is working in the frontiers of his field cannot trust himself to discriminate between the trivial and the significant. Without trust in his own powers the person seeking improved solutions or alternative theories has no basis for distinguishing the significant and profound innovation from the one that is merely different.... An essential component of the creative process, whether it be analysis, synthesis, or the development of a new perspective or more comprehensive theory, is the conviction that one's judgment in interpreting the events is to be trusted. (Coopersmith, 1967, p. 59)

   9) Stages in Creative Problem- Solving

   In the daily stream of thought these four different stages [preparation; incubation; illumination or inspiration; and verification] constantly overlap each other as we explore different problems. An economist reading a Blue Book, a physiologist watching an experiment, or a business man going through his morning's letters, may at the same time be "incubating" on a problem which he proposed to himself a few days ago, be accumulating knowledge in "preparation" for a second problem, and be "verifying" his conclusions to a third problem. Even in exploring the same problem, the mind may be unconsciously incubating on one aspect of it, while it is consciously employed in preparing for or verifying another aspect. (Wallas, 1926, p. 81)

    10) The Bisociative Pattern of the Creative Synthesis

   he basic, bisociative pattern of the creative synthesis [is] the sudden interlocking of two previously unrelated skills, or matrices of thought. (Koestler, 1964, p. 121)

    11) The Earliest Stages in the Creative Process Involve a Commerce with Disorder

   Even to the creator himself, the earliest effort may seem to involve a commerce with disorder. For the creative order, which is an extension of life, is not an elaboration of the established, but a movement beyond the established, or at least a reorganization of it and often of elements not included in it. The first need is therefore to transcend the old order. Before any new order can be defined, the absolute power of the established, the hold upon us of what we know and are, must be broken. New life comes always from outside our world, as we commonly conceive that world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." (Ghiselin, 1985, p. 4)

    12) The Inner Life of the Creative Process

   New life comes always from outside our world, as we commonly conceive our world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." Chaos and disorder are perhaps the wrong terms for that indeterminate fullness and activity of the inner life. For it is organic, dynamic, full of tension and tendency. What is absent from it, except in the decisive act of creation, is determination, fixity, and commitment to one resolution or another of the whole complex of its tensions. (Ghiselin, 1952, p. 13)

    13) The Problem of What Impels the Creative Person

   [P]sychoanalysts have principally been concerned with the content of creative products, and with explaining content in terms of the artist's infantile past. They have paid less attention to examining why the artist chooses his particular activity to express, abreact or sublimate his emotions. In short, they have not made much distinction between art and neurosis; and, since the former is one of the blessings of mankind, whereas the latter is one of the curses, it seems a pity that they should not be better differentiated....

   Psychoanalysis, being fundamentally concerned with drive and motive, might have been expected to throw more light upon what impels the creative person that in fact it has. (Storr, 1993, pp. xvii, 3)

    14) Theories of Creative Thinking

   A number of theoretical approaches were considered. Associative theory, as developed by Mednick (1962), gained some empirical support from the apparent validity of the Remote Associates Test, which was constructed on the basis of the theory.... Koestler's (1964) bisociative theory allows more complexity to mental organization than Mednick's associative theory, and postulates "associative contexts" or "frames of reference." He proposed that normal, non-creative, thought proceeds within particular contexts or frames and that the creative act involves linking together previously unconnected frames.... Simonton (1988) has developed associative notions further and explored the mathematical consequences of chance permutation of ideas....

   Like Koestler, Gruber (1980; Gruber and Davis, 1988) has based his analysis on case studies. He has focused especially on Darwin's development of the theory of evolution. Using piagetian notions, such as assimilation and accommodation, Gruber shows how Darwin's system of ideas changed very slowly over a period of many years. "Moments of insight," in Gruber's analysis, were the culminations of slow long-term processes.... Finally, the information-processing approach, as represented by Simon (1966) and Langley et al. (1987), was considered.... [Simon] points out the importance of good problem representations, both to ensure search is in an appropriate problem space and to aid in developing heuristic evaluations of possible research directions.... The work of Langley et al. (1987) demonstrates how such search processes, realized in computer programs, can indeed discover many basic laws of science from tables of raw data.... Boden (1990a, 1994) has stressed the importance of restructuring the problem space in creative work to develop new genres and paradigms in the arts and sciences. (Gilhooly, 1996, pp. 243-244; emphasis in original)

Historical dictionary of quotations in cognitive science > Creativity
3 loud

adjective

1) (making a great sound; not quiet: a loud voice; loud music.) alto

2) (showy; too bright and harsh: loud colours; a loud shirt.) chillón

•

- loudly
- loudness
- loud-hailer
- loudspeaker

loud adj fuerte / alto

the TV's too loud can you turn it down? la tele está demasiado alta ¿puedes bajarla?

a loud noise un fuerte ruido

loud

tr[laʊd]

adjective

1 (sound) fuerte

2 (voice) alto,-a

3 (colour) chillón,-ona

4 (behaviour) vulgar, ordinario,-a

adverb

1 fuerte, alto

\

SMALLIDIOMATIC EXPRESSION/SMALL

out loud en voz alta

■ I was thinking out loud pensaba en voz alta

loud ['laʊd] adv

: alto, fuerte

out loud: en voz alta

loud adj

1) : alto, fuerte

a loud voice: una voz alta

2) noisy: ruidoso

a loud party: una fiesta ruidosa

3) flashy: llamativo, chillón

loud

adj.

• alto, -a adj.

• charro, -a adj.

• churrigueresco, -a adj.

• clamoroso, -a adj.

• fuerte (Sonido) adj.

• recio, -a adj.

• ruidoso, -a adj.

• sonoro, -a adj.

adv.

• en voz alta adv.

• forte adv.

• fuerte adv.

• ruidosamente adv.

I laʊd
adjective -er, -est

a) <noise/scream/applause> fuerte

he said it in a loud voice — lo dijo en voz alta

b) ( vigorous) <protests/complaints> enérgico

c) ( ostentatious) < color> llamativo, chillón

d) loudmouthed

II

adverb -er, -est < speak> alto

she laughed (the) loudest of all — fue la que se rió más fuerte

he always turns the TV up too loud — siempre pone la televisión demasiado alta or fuerte

out loud — en voz alta

I'm receiving you loud and clear — ( Telec) te recibo perfectamente

[laʊd] (compar louder) (superl loudest)
1. ADJ

1) (=noisy) [music] alto, fuerte; [applause, noise, explosion, scream] fuerte

she has a loud voice — tiene una voz muy fuerte

in a loud voice — en voz alta

the music is too loud — la música está demasiado fuerte or alta

he's a bit loud * — pej es un poco escandaloso

• to be loud in one's support for sth — dar grandes muestras de apoyo a algo

to be loud in one's condemnation of sth — condenar algo enérgicamente

2) pej (=garish) [colour] chillón, llamativo; [pattern, clothes] llamativo

a loud check jacket — una llamativa chaqueta de cuadros

2.

ADV [speak] alto; [laugh, shout] fuerte

you'll have to speak louder — tendrás que hablar más fuerte or alto

she likes to listen to her music loud — le gusta escuchar la música muy fuerte or alta

"Nevermind" is one of those records you play loud — "Nevermind" es uno de esos discos que tienes que poner a todo volumen

• loud and clear, I am reading or receiving you loud and clear — (Telec) te recibo perfectamente

I hear you loud and clear, but I don't agree — te entiendo perfectamente, pero no estoy de acuerdo

• out loud — [think, wonder, read, laugh] en voz alta
cry out 1.
* * *

I [laʊd]
adjective -er, -est

a) <noise/scream/applause> fuerte

he said it in a loud voice — lo dijo en voz alta

b) ( vigorous) <protests/complaints> enérgico

c) ( ostentatious) < color> llamativo, chillón

d) loudmouthed

II

adverb -er, -est < speak> alto

she laughed (the) loudest of all — fue la que se rió más fuerte

he always turns the TV up too loud — siempre pone la televisión demasiado alta or fuerte

out loud — en voz alta

I'm receiving you loud and clear — ( Telec) te recibo perfectamente

English-spanish dictionary > loud

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