-
1 experience
experience [ɪk'spɪərɪəns]1 noun(a) (in life, in a subject) expérience f;∎ he has lots of experience il a beaucoup d'expérience ou une grande expérience;∎ I had no previous experience je n'avais aucune expérience préalable;∎ I had no experience of looking after disabled people je ne m'étais jamais occupé de personnes handicapées;∎ do you have any experience of working with animals? avez-vous déjà travaillé avec des animaux?;∎ she has considerable management experience elle a une expérience considérable de ou dans la gestion;∎ to lack experience manquer d'expérience ou de pratique;∎ to gain experience of life faire l'apprentissage de la vie;∎ experience shows or proves that… l'expérience démontre ou montre ou prouve que…;∎ I know from experience that he's not to be trusted je sais par expérience qu'il ne faut pas lui faire confiance;∎ to know from bitter experience savoir pour en avoir fait la cruelle expérience;∎ to speak from experience parler en connaissance de cause;∎ in or from my (own) experience, (speaking) from personal experience d'après mon expérience personnelle;∎ my experience has been or it has been my experience that… d'après mon expérience…;∎ has that been your experience? (do you agree?) avez-vous remarqué la même chose?;∎ to put sth down to experience tirer un enseignement ou une leçon de qch;∎ it's all good experience (as consolation) à quelque chose malheur est bon;∎ experience is the best teacher l'expérience est le meilleur des enseignements;∎ the black experience in America la condition des Noirs en Amérique∎ I had so many exciting experiences j'ai vécu tant d'aventures passionnantes;∎ after this stressful experience après cette expérience stressante;∎ how did you enjoy the American experience? comment as-tu trouvé l'Amérique?;∎ humorous bad weather is all part of the Scottish experience le mauvais temps fait partie intégrante des joies de l'Écosse;∎ my first experience of French cooking/of a real Scottish New Year la première fois que j'ai goûté à la cuisine française/que j'ai assisté à un vrai réveillon écossais;∎ it was his first experience of love c'était la première fois qu'il tombait amoureux;∎ the crossing promises to be quite an experience la traversée promet d'être une expérience mémorable;∎ I hope it wasn't a nasty experience for you j'espère que cela n'a pas été trop désagréable pour toi;∎ a transatlantic cruise: the experience of a lifetime! une croisière à travers l'Atlantique: une expérience inoubliable!;∎ it was not an experience I would care to repeat je ne voudrais pas renouveler l'expérience(a) (undergo → hunger, hardship, recession) connaître;∎ to experience military combat faire l'expérience du combat militaire;∎ he experienced great difficulty in raising the money il a eu beaucoup de mal à trouver l'argent nécessaire(b) (feel → thrill, emotion, despair) sentir, ressentir;∎ she experienced a certain feeling of fear elle a ressenti une certaine frayeur;∎ he is experiencing a great deal of anxiety at the moment il est très angoissé en ce moment∎ come and experience Manhattan venez découvrir Manhattan;∎ if you've never experienced French cooking si vous n'avez jamais goûté à la cuisine française;∎ to experience a real Scottish New Year assister à un vrai réveillon écossais►► Commerce experience curve courbe f d'expérience -
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 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
См. также в других словарях:
List of characters from The Sopranos in the Soprano crime family — The following is a listing of fictional characters from the HBO series The Sopranos that are associated with the Soprano crime family. Contents 1 Administration 1.1 Giacomo Jackie Aprile, Sr. 1.2 Silvio Dante … Wikipedia
Prolegomena to Any Future Metaphysics That Will Be Able to Present Itself as a Science — Prolegomenon (plural prolegomena ) refers to any critical introduction or essay at the start of a book. Prolegomena to Any Future Metaphysics is one of the shorter works by the German philosopher Immanuel Kant. It was published in 1783, two years … Wikipedia
List of characters from The Saddle Club — This is a list of characters from, The Saddle Club. Carole Hanson is a bright girl and natural rider, who almost gave it up when her mother died from cancer. This was compounded by the death of Cobalt, Veronica s old horse, who Carole adored. Her … Wikipedia
List of Primeval characters — Primeval characters: Top A B C D E F G H I J K L M N O P Q R S T U V W X Y Z References External links … Wikipedia
RESPONSES — the victims the world THE VICTIMS Behavior of the Victims In a chapter entitled Auschwitz: The Death of Choice in Versions of Survival: The Holocaust and the Human Spirit, the Holocaust scholar lawrence langer writes: After we peel the veneer of… … Encyclopedia of Judaism
List of Fushigi Yūgi characters — This is a list of the major characters from the manga and anime series Fushigi Yūgi , as well as its prequel, Fushigi Yūgi Genbu Kaiden .uzakuInfobox animanga character color = #E34234 name = Miaka Yūki caption = voiced by = Kae Araki (Japanese)… … Wikipedia
List of Fushigi Yûgi characters — The protagonists of Fushigi Yûgi, as seen in the anime adaptation. From left to right, top to bottom: Nuriko, Chichiri, Mitsukake, Tasuki, Tamahome, Miaka, Hotohori, Chiriko. This article lists the major characters from the manga series Fushigi… … Wikipedia
Sceptics (The) — The sceptics Michael Frede INTRODUCTION When we speak of ‘scepticism’ and of ‘sceptics’, we primarily think of a philosophical position according to which nothing is known for certain, or even nothing can be known for certain. There are certain… … History of philosophy
List of EastEnders characters (2009) — EastEnders is a long running BBC soap opera from the United Kingdom. This is a list of characters who first appeared on the programme during 2009, listed in order of their first appearance. They were all introduced by the show s executive… … Wikipedia
Apology (Plato) — For the article on Xenophon s work on the same subject, see Apology (Xenophon). For other uses, see Apology (disambiguation) Part of the series on: The Dialogues of Plato Early dialogues … Wikipedia
Charles Wager — Sir Charles Wager Sir Charles Wager Born 1666 Died … Wikipedia
