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Storr

  • 1 ctenotus, Storr's

    2. RUS ктенотус m Сторра
    4. DEU —
    5. FRA —
    Ареал обитания: Австралия

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > ctenotus, Storr's

  • 2 lerista, Storr's

    1. LAT Lerista storri Greer, McDonald et Lawrie
    2. RUS лериста f Сторра
    4. DEU —
    5. FRA —
    Ареал обитания: Австралия

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > lerista, Storr's

  • 3 morethia, Storr's

    2. RUS моретия f Сторра
    4. DEU —
    5. FRA —
    Ареал обитания: Австралия

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > morethia, Storr's

  • 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 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

  • 5 sedgy

    adj. \/ˈsedʒɪ\/
    1) sivdekket, overgrodd med storr eller siv
    2) sivlignende, storrlignende

    English-Norwegian dictionary > sedgy

  • 6 vulture, bearded

    —
    1. LAT Gypaëtus ( Storr)
    2. RUS бородач m, ягнятник m
    4. DEU Bartgeier m
    5. FRA gypaète m barbu

    2. RUS бородач m, ягнятник m
    4. DEU Bartgeier m, Lämmergeier m
    5. FRA gypaète m barbu [des Alpes]

    ПЯТИЯЗЫЧНЫЙ СЛОВАРЬ НАЗВАНИЙ ЖИВОТНЫХ — птицы > vulture, bearded

  • 7 ctenotus, Allen's

    2. RUS ктенотус m Аллена
    4. DEU —
    5. FRA —
    Ареал обитания: Австралия

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > ctenotus, Allen's

  • 8 dragon, mallee

    2. RUS амфиболурус m Форда
    5. FRA amphibolure m de Ford
    Ареал обитания: АВ

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > dragon, mallee

  • 9 lerista, legless

    4. DEU —
    5. FRA —
    Ареал обитания: Австралия

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > lerista, legless

  • 10 lerista, Peterson's

    2. RUS лериста f Петерсона
    4. DEU —
    5. FRA —
    Ареал обитания: Австралия

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > lerista, Peterson's

  • 11 morethia, Butler's

    2. RUS моретия f Батлера
    4. DEU —
    5. FRA —
    Ареал обитания: Австралия

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > morethia, Butler's

  • 12 skink, Brongersma's tree

    2. RUS сфеноморфус m Бронгерсмы
    4. DEU —
    5. FRA —
    Ареал обитания: Австралия

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > skink, Brongersma's tree

  • 13 skink, Douglas' tree

    2. RUS сфеноморфус m [клиновидный сцинк m] Дугласа
    4. DEU —
    5. FRA —
    Ареал обитания: Австралия

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > skink, Douglas' tree

  • 14 skink, striped

    4. DEU —
    5. FRA —
    Ареал обитания: Австралия

    2. RUS —
    4. DEU —
    5. FRA —
    Ареал обитания: Австралия

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > skink, striped

  • 15 snake, hooded

    2. RUS —
    4. DEU —
    5. FRA —
    Ареал обитания: Австралия

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > snake, hooded

  • 16 snake, northern desert banded

    2. RUS —
    4. DEU —
    5. FRA —
    Ареал обитания: Австралия

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > snake, northern desert banded

  • 17 badgers, honey

    2. RUS медоеды pl
    3. ENG honey badgers, ratels
    4. DEU Honigdachse pl
    5. FRA ratels pl

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > badgers, honey

  • 18 coatimundis

    1. LAT Nasua Storr
    2. RUS носухи pl, коати pl
    3. ENG coatis, coatimundis
    4. DEU Nasenbären pl, Coatis pl
    5. FRA coatis pl

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > coatimundis

  • 19 coatis

    1. LAT Nasua Storr
    2. RUS носухи pl, коати pl
    3. ENG coatis, coatimundis
    4. DEU Nasenbären pl, Coatis pl
    5. FRA coatis pl

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > coatis

  • 20 coneys

    2. RUS скалистые [пустынные] даманы pl
    3. ENG (rock) dassies, (large-toothed, rock) hyraxes, coneys, rock rabbits
    4. DEU Klippschliefer pl, Wüstenschliefer pl, Shaphans pl
    5. FRA damans pl de rocher, hyraxes pl

    DICTIONARY OF ANIMAL NAMES IN FIVE LANGUAGES > coneys

Страницы

См. также в других словарях:

  • Storr — ist der Familienname folgender Personen: Catherine Storr (1913–2001), englische Kinderbuchautorin Andreas Storr (* 1968), NPD Politiker Glen Milton Storr (1921 1990), australischer Zoologe Gottlieb Conrad Christian Storr (1749–1821), deutscher… …   Deutsch Wikipedia

  • Storr — is a surname, and may refer to* Anthony Storr (1920 2001), English psychiatrist and author * Glen Milton Storr (1921 1990), Australian ornithologist * Gottlieb Conrad Christian Storr (1749 1821), German physician and naturalist * Jamie Storr… …   Wikipedia

  • Storr — Storr, 1) Johann Christian, geb. 3. Juni 1712 in Heilbronn, studirte 1731–35 im Theologischen Stifte zu Tübingen, wurde, nachdem er an mehren Orten Vicar u. Hauslehrer gewesen war, 1739 Hofvicar u. Pageninstructor der Herzogin Johanna Elisabeth… …   Pierer's Universal-Lexikon

  • Storr — This long established surname is of Old Scandinavian origin, and belongs to that sizeable group of early European surnames that were gradually created from the habitual use of nicknames. These nicknames were originally given with reference to a… …   Surnames reference

  • Storr — Cette page d’homonymie répertorie les différents sujets et articles partageant un même nom. Le nom de Storr est porté par plusieurs personnalités (par ordre alphabétique) : Glen Milton Storr (1921 1990), ornithologue australien. Gottlieb… …   Wikipédia en Français

  • Störr-Ritter — Dorothea Störr Ritter, geborene Störr, (* 27. August 1955 in Freiburg im Breisgau) ist eine baden württembergische Politikerin der CDU. Inhaltsverzeichnis 1 Ausbildung und Beruf 2 Politische Karriere 3 Familie …   Deutsch Wikipedia

  • Storr, Anthony — ▪ 2002       British psychiatrist (b. May 18, 1920, London, Eng. d. March 17, 2001, Oxford, Eng.), made psychiatric concepts accessible to the public in a dozen lucid, jargon free books and as a prominent figure on radio and television. Storr… …   Universalium

  • Storr, Paul — ▪ British goldsmith born 1771, London died March 4, 1844, London       goldsmith particularly noted for his outstanding craftsmanship in the execution of richly ornamented works, especially presentation silver. A notable example is the cup made… …   Universalium

  • Glen Milton Storr — Pour les articles homonymes, voir Storr. Glen Milton Storr est un ornithologue et herpétologiste australien, né en 1921 et mort en 1990. Il rejoint le Western Australian Museum en 1962 et devient le conservateur de l’ornithologie et de… …   Wikipédia en Français

  • Jamie Storr — Kanada Jamie Storr Personenbezogene Informationen Geburtsdatum 28. Dezember 1975 Geburtsort Brampton, Ontario, Kanada Größe …   Deutsch Wikipedia

  • Catherine Storr — Catherine Storr, born Catherine Cole (21 July 1913, London – 8 January 2001, London),Eccleshare (2005) gives the date of her death as January 8; Eccleshare (2001) and Thwaite (2001) give it as January 6.] was an English novelist best known for… …   Wikipedia

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