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1 through with someone or something
adj infml1)Don't go, I'm not through with you yet — Куда ты, я с тобой еще не закончил
2)She was through with trying to pretend that she loved him — Ей надоело притворяться, что она любит его
The new dictionary of modern spoken language > through with someone or something
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2 through
Ɵru: 1. preposition1) (into from one direction and out of in the other: The water flows through a pipe.) gjennom2) (from side to side or end to end of: He walked (right) through the town.) gjennom3) (from the beginning to the end of: She read through the magazine.) fra ende til annen, gjennom4) (because of: He lost his job through his own stupidity.) gjennom, på grunn av5) (by way of: He got the job through a friend.) gjennom, ved6) ((American) from... to (inclusive): I work Monday through Friday.) til (og med)2. adverb(into and out of; from one side or end to the other; from beginning to end: He went straight/right through.) igjennom3. adjective1) ((of a bus or train) that goes all the way to one's destination, so that one doesn't have to change (buses or trains): There isn't a through train - you'll have to change.) gjennomgående2) (finished: Are you through yet?) ferdig•4. adverb(in every part: The house was furnished throughout.) helt, gjennom det hele- soaked
- wet through
- through and through
- through withgjennom--------igjennomIgjennomgående, direkte, gjennomgangs-, gjennomfarts-II1) (i)gjennom2) gjennom3) (helt) til slutt(en)all the way through hele veien, tvers igjennomall through hele tidenbe through være klar, være ferdigvære ferdigha fått nokvære ødelagtfå sparkenbe through on the phone ( telekommunikasjon) ha kommet gjennom på telefonenbe through to the finals gå til finalen, ha gått til finalenbe through with someone være ferdig med noen• I'm through with him!get a call through ( telekommunikasjon) komme gjennomget through on the phone ( telekommunikasjon) komme gjennom på telefonenget through to someone nå frem til noengo through to ( samferdsel) gå direkte tilput someone through ( telekommunikasjon) sette noen over, viderekoble noenthrough and through tvers igjennomigjennom gang på gang, om og om igjenIII1) gjennom, igjennom, over2) inn gjennom, ut gjennominnbruddstyven krøp inn\/ut gjennom vinduet3) ved, på grunn av, som følge av, av4) takket væredet er helt og holdent hans fortjeneste\/feil at jeg er her nå5) ( om tid) gjennom6) (amer.) til og medall through over hele, i løpet av helebe through a good deal være med på en del, oppleve\/gjennomgå myebe through something ( hverdagslig) ha kommet gjennom noe, ha avsluttet noe, være ferdig med noehan har klart den endelige eksamenen, han har beståttdrive through a red light kjøre mot rødt lyssit through sitte, blithrough and through tvers igjennom igjennom flere ganger, om og om igjen -
3 Huygens, Christiaan
SUBJECT AREA: Horology[br]b. 14 April 1629 The Hague, the Netherlandsd. 8 June 1695 The Hague, the Netherlands[br]Dutch scientist who was responsible for two of the greatest advances in horology: the successful application of both the pendulum to the clock and the balance spring to the watch.[br]Huygens was born into a cultured and privileged class. His father, Constantijn, was a poet and statesman who had wide interests. Constantijn exerted a strong influence on his son, who was educated at home until he reached the age of 16. Christiaan studied law and mathematics at Ley den University from 1645 to 1647, and continued his studies at the Collegium Arausiacum in Breda until 1649. He then lived at The Hague, where he had the means to devote his time entirely to study. In 1666 he became a Member of the Académie des Sciences in Paris and settled there until his return to The Hague in 1681. He also had a close relationship with the Royal Society and visited London on three occasions, meeting Newton on his last visit in 1689. Huygens had a wide range of interests and made significant contributions in mathematics, astronomy, optics and mechanics. He also made technical advances in optical instruments and horology.Despite the efforts of Burgi there had been no significant improvement in the performance of ordinary clocks and watches from their inception to Huygens's time, as they were controlled by foliots or balances which had no natural period of oscillation. The pendulum appeared to offer a means of improvement as it had a natural period of oscillation that was almost independent of amplitude. Galileo Galilei had already pioneered the use of a freely suspended pendulum for timing events, but it was by no means obvious how it could be kept swinging and used to control a clock. Towards the end of his life Galileo described such a. mechanism to his son Vincenzio, who constructed a model after his father's death, although it was not completed when he himself died in 1642. This model appears to have been copied in Italy, but it had little influence on horology, partly because of the circumstances in which it was produced and possibly also because it differed radically from clocks of that period. The crucial event occurred on Christmas Day 1656 when Huygens, quite independently, succeeded in adapting an existing spring-driven table clock so that it was not only controlled by a pendulum but also kept it swinging. In the following year he was granted a privilege or patent for this clock, and several were made by the clockmaker Salomon Coster of The Hague. The use of the pendulum produced a dramatic improvement in timekeeping, reducing the daily error from minutes to seconds, but Huygens was aware that the pendulum was not truly isochronous. This error was magnified by the use of the existing verge escapement, which made the pendulum swing through a large arc. He overcame this defect very elegantly by fitting cheeks at the pendulum suspension point, progressively reducing the effective length of the pendulum as the amplitude increased. Initially the cheeks were shaped empirically, but he was later able to show that they should have a cycloidal shape. The cheeks were not adopted universally because they introduced other defects, and the problem was eventually solved more prosaically by way of new escapements which reduced the swing of the pendulum. Huygens's clocks had another innovatory feature: maintaining power, which kept the clock going while it was being wound.Pendulums could not be used for portable timepieces, which continued to use balances despite their deficiencies. Robert Hooke was probably the first to apply a spring to the balance, but his efforts were not successful. From his work on the pendulum Huygens was well aware of the conditions necessary for isochronism in a vibrating system, and in January 1675, with a flash of inspiration, he realized that this could be achieved by controlling the oscillations of the balance with a spiral spring, an arrangement that is still used in mechanical watches. The first model was made for Huygens in Paris by the clockmaker Isaac Thuret, who attempted to appropriate the invention and patent it himself. Huygens had for many years been trying unsuccessfully to adapt the pendulum clock for use at sea (in order to determine longitude), and he hoped that a balance-spring timekeeper might be better suited for this purpose. However, he was disillusioned as its timekeeping proved to be much more susceptible to changes in temperature than that of the pendulum clock.[br]Principal Honours and DistinctionsFRS 1663. Member of the Académie Royale des Sciences 1666.BibliographyFor his complete works, see Oeuvres complètes de Christian Huygens, 1888–1950, 22 vols, The Hague.1658, Horologium, The Hague; repub., 1970, trans. E.L.Edwardes, AntiquarianHorology 7:35–55 (describes the pendulum clock).1673, Horologium Oscillatorium, Paris; repub., 1986, The Pendulum Clock or Demonstrations Concerning the Motion ofPendula as Applied to Clocks, trans.R.J.Blackwell, Ames.The balance spring watch was first described in Journal des Sçavans 25 February 1675, and translated in Philosophical Transactions of the Royal Society (1675) 4:272–3.Further ReadingH.J.M.Bos, 1972, Dictionary of Scientific Biography, ed. C.C.Gillispie, Vol. 6, New York, pp. 597–613 (for a fuller account of his life and scientific work, but note the incorrect date of his death).R.Plomp, 1979, Spring-Driven Dutch Pendulum Clocks, 1657–1710, Schiedam (describes Huygens's application of the pendulum to the clock).S.A.Bedini, 1991, The Pulse of Time, Florence (describes Galileo's contribution of the pendulum to the clock).J.H.Leopold, 1982, "L"Invention par Christiaan Huygens du ressort spiral réglant pour les montres', Huygens et la France, Paris, pp. 154–7 (describes the application of the balance spring to the watch).A.R.Hall, 1978, "Horology and criticism", Studia Copernica 16:261–81 (discusses Hooke's contribution).DV -
4 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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5 Napier, Robert
SUBJECT AREA: Ports and shipping[br]b. 18 June 1791 Dumbarton, Scotlandd. 23 June 1876 Shandon, Dunbartonshire, Scotland[br]Scottish shipbuilder one of the greatest shipbuilders of all time, known as the "father" of Clyde shipbuilding.[br]Educated at Dumbarton Grammar School, Robert Napier had been destined for the Church but persuaded his father to let him serve an apprenticeship as a blacksmith under him. For a while he worked in Edinburgh, but then in 1815 he commenced business in Glasgow, the city that he served for the rest of his life. Initially his workshop was in Camlachie, but it was moved in 1836 to a riverside factory site at Lancefield in the heart of the City and again in 1841 to the Old Shipyard in the Burgh of Govan (then independent of the City of Glasgow). The business expanded through his preparedness to build steam machinery, beginning in 1823 with the engines for the paddle steamer Leven, still to be seen a few hundred metres from Napier's grave in Dumbarton. His name assured owners of quality, and business expanded after two key orders: one in 1836 for the Honourable East India Company; and the second two years later for the Royal Navy, hitherto the preserve of the Royal Dockyards and of the shipbuilders of south-east England. Napier's shipyard and engine shops, then known as Robert Napier and Sons, were to be awarded sixty Admiralty contracts in his lifetime, with a profound influence on ship and engine procurement for the Navy and on foreign governments, which for the first time placed substantial work in the United Kingdom.Having had problems with hull subcontractors and also with the installation of machinery in wooden hulls, in 1843 Napier ventured into shipbuilding with the paddle steamer Vanguard, which was built of iron. The following year the Royal Navy took delivery of the iron-hulled Jackall, enabling Napier to secure the contract for the Black Prince, Britain's second ironclad and sister ship to HMS Warrior now preserved at Portsmouth. With so much work in iron Napier instigated studies into metallurgy, and the published work of David Kirkaldy bears witness to his open-handedness in assisting the industry. This service to industry was even more apparent in 1866 when the company laid out the Skelmorlie Measured Mile on the Firth of Clyde for ship testing, a mile still in use by ships of all nations.The greatest legacy of Robert Napier was his training of young engineers, shipbuilders and naval architects. Almost every major Scottish shipyard, and some English too, was influenced by him and many of his early foremen left to set up rival establishments along the banks of the River Clyde. His close association with Samuel Cunard led to the setting up of the company now known as the Cunard Line. Napier designed and engined the first four ships, subcontracting the hulls of this historic quartet to other shipbuilders on the river. While he contributed only 2 per cent to the equity of the shipping line, they came back to him for many more vessels, including the magnificent paddle ship Persia, of 1855.It is an old tradition on the Clyde that the smokestacks of ships are made by the enginebuilders. The Cunard Line still uses red funnels with black bands, Napier's trademark, in honour of the engineer who set them going.[br]Principal Honours and DistinctionsKnight Commander of the Dannebrog (Denmark). President, Institution of Mechanical Engineers 1864. Honorary Member of the Glasgow Society of Engineers 1869.Further ReadingJames Napier, 1904, The Life of Robert Napier, Edinburgh, Blackwood.J.M.Halliday, 1980–1, "Robert Napier. The father of Clyde shipbuilding", Transactions of the Institution of Engineers and Shipbuilders in Scotland 124.Fred M.Walker, 1984, Song of the Clyde. A History of Clyde Shipbuilding, Cambridge: PSL.FMW
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