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1 creative
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2 creative
[kriː'eɪtɪv]1) (inventive) [person, solution] creativo, inventivo, fantasioso2) (which creates) [process, imagination] creativo, creatore* * *[-tiv]adjective (having or showing the power and imagination to create: a creative dress-designer.) creativo* * *[kriː'eɪtɪv]1) (inventive) [person, solution] creativo, inventivo, fantasioso2) (which creates) [process, imagination] creativo, creatore -
3 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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The creative circle: Sketches on the natural history of circularity. In P. Watzlawick (Ed.), The invented reality (pp. 309-324). New York: W. W. Norton.■ Voltaire (1961). On the Penseґs of M. Pascal. In Philosophical letters (pp. 119-146). E. Dilworth (Trans.). Indianapolis: Bobbs-Merrill.■ Wagman, M. (1991a). Artificial intelligence and human cognition: A theoretical inter comparison of two realms of intellect. Westport, CT: Praeger.■ Wagman, M. (1991b). Cognitive science and concepts of mind: Toward a general theory of human and artificial intelligence. Westport, CT: Praeger.■ Wagman, M. (1993). Cognitive psychology and artificial intelligence: Theory and re search in cognitive science. Westport, CT: Praeger.■ Wagman, M. (1995). The sciences of cognition: Theory and research in psychology and artificial intelligence. Westport, CT: Praeger.■ Wagman, M. (1996). Human intellect and cognitive science: Toward a general unified theory of intelligence. Westport, CT: Praeger.■ Wagman, M. (1997a). Cognitive science and the symbolic operations of human and artificial intelligence: Theory and research into the intellective processes. Westport, CT: Praeger.■ Wagman, M. (1997b). The general unified theory of intelligence: Central conceptions and specific application to domains of cognitive science. Westport, CT: Praeger.■ Wagman, M. (1998a). Cognitive science and the mind- body problem: From philosophy to psychology to artificial intelligence to imaging of the brain. Westport, CT: Praeger.■ Wagman, M. (1998b). Language and thought in humans and computers: Theory and research in psychology, artificial intelligence, and neural science. Westport, CT: Praeger.■ Wagman, M. (1998c). The ultimate objectives of artificial intelligence: Theoretical and research foundations, philosophical and psychological implications. Westport, CT: Praeger.■ Wagman, M. (1999). The human mind according to artificial intelligence: Theory, re search, and implications. Westport, CT: Praeger.■ Wagman, M. (2000). Scientific discovery processes in humans and computers: Theory and research in psychology and artificial intelligence. Westport, CT: Praeger.■ Wall, R. (1972). Introduction to mathematical linguistics. Englewood Cliffs, NJ: Prentice-Hall.■ Wallas, G. (1926). The Art of Thought. New York: Harcourt, Brace & Co.■ Wason, P. (1977). Self contradictions. In P. Johnson-Laird & P. Wason (Eds.), Thinking: Readings in cognitive science. Cambridge: Cambridge University Press.■ Wason, P. C., & P. N. Johnson-Laird. (1972). Psychology of reasoning: Structure and content. Cambridge, MA: Harvard University Press.■ Watson, J. (1930). Behaviorism. New York: W. W. Norton.■ Watzlawick, P. (1984). Epilogue. In P. Watzlawick (Ed.), The invented reality. New York: W. W. Norton, 1984.■ Weinberg, S. (1977). The first three minutes: A modern view of the origin of the uni verse. New York: Basic Books.■ Weisberg, R. W. (1986). Creativity: Genius and other myths. New York: W. H. Freeman.■ Weizenbaum, J. (1976). Computer power and human reason: From judgment to cal culation. San Francisco: W. H. Freeman.■ Wertheimer, M. (1945). Productive thinking. New York: Harper & Bros.■ Whitehead, A. N. (1925). Science and the modern world. New York: Macmillan.■ Whorf, B. L. (1956). In J. B. Carroll (Ed.), Language, thought and reality: Selected writings of Benjamin Lee Whorf. Cambridge, MA: MIT Press.■ Whyte, L. L. (1962). The unconscious before Freud. New York: Anchor Books.■ Wiener, N. (1954). The human use of human beings. Boston: Houghton Mifflin.■ Wiener, N. (1964). God & Golem, Inc.: A comment on certain points where cybernetics impinges on religion. Cambridge, MA: MIT Press.■ Winograd, T. (1972). Understanding natural language. New York: Academic Press.■ Winston, P. H. (1987). Artificial intelligence: A perspective. In E. L. Grimson & R. S. Patil (Eds.), AI in the 1980s and beyond (pp. 1-12). Cambridge, MA: MIT Press.■ Winston, P. H. (Ed.) (1975). The psychology of computer vision. New York: McGrawHill.■ Wittgenstein, L. (1953). Philosophical investigations. Oxford: Basil Blackwell.■ Wittgenstein, L. (1958). The blue and brown books. New York: Harper Colophon.■ Woods, W. A. (1975). What's in a link: Foundations for semantic networks. In D. G. Bobrow & A. Collins (Eds.), Representations and understanding: Studies in cognitive science (pp. 35-84). New York: Academic Press.■ Woodworth, R. S. (1938). Experimental psychology. New York: Holt; London: Methuen (1939).■ Wundt, W. (1904). Principles of physiological psychology (Vol. 1). E. B. Titchener (Trans.). New York: Macmillan.■ Wundt, W. (1907). Lectures on human and animal psychology. J. E. Creighton & E. B. Titchener (Trans.). New York: Macmillan.■ Young, J. Z. (1978). Programs of the brain. New York: Oxford University Press.■ Ziman, J. (1978). Reliable knowledge: An exploration of the grounds for belief in science. Cambridge: Cambridge University Press.Historical dictionary of quotations in cognitive science > Bibliography
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5 Art
Portugal did not produce an artist of sufficient ability to gain recognition outside the country until the 19th century. Domingos Antônio Segueira (1768-1837) became well known in Europe for his allegorical religious and historical paintings in a neoclassical style. Portuguese painting during the 19th century emphasized naturalism and did not keep abreast of artistic innovations being made in other European countries. Portugal's best painters lived abroad especially in France. The most successful was Amadeo Souza- Cardoso who, while living in Paris, worked with the modernists Modigliani, Georges Braque, and Juan Gris. Souza-Cardoso introduced modernism into Portuguese painting in the early 20th century. A sustained modernist movement did not develop in Portugal, however. Naturalism remained the dominant school, and Portugal remained isolated from international artistic trends, owing to Portugal's conservative artistic climate, which prevented new forms of art from taking root, and the lack of support from an artistically sophisticated, art-buying elite supported by a system of galleries and foundations.Interestingly, it was during the conservative Estado Novo that modernism began to take root in Portugal. As Prime Minister Antônio de Oliveira Salazar's secretary for national propaganda, Antônio Ferro, a writer, journalist, and cultural leader who admired Mussolini, encouraged the government to allow modern artists to create the heroic imagery of the Estado Novo following the Italian model that linked fascism with futurism. The most important Portuguese artist of this period was Almada Negreiros, who did the murals on the walls of the legendary café A Brasileira in the Chiado district of Lisbon, the paintings at the Exposition of the Portuguese World (1940), and murals at the Lisbon docks. Other artists of note during this period included Mário Eloy (1900-51), who was trained in Germany and influenced by George Grosz and Otto Dix; Domingos Alvarez (1906-42); and Antônio Pedro (1909-66).During the 1950s, the Estado Novo ceased to encourage artists to collaborate, as Portuguese artists became more critical of the regime. The return to Portugal of Antônio Pedro in 1947 led to the emergence of a school of geometric abstract painting in Oporto and the reawakening of surrealism. The art deco styles of the 1930s gave way to surrealism and abstract expression.In the 1960s, links between Portugal's artistic community and the international art world strengthened. Conscription for the wars against the nationalist insurgencies in Angola, Mozambique, and Guinea- Bissau (1961-75) resulted in a massive exodus of Portugal's avante-garde artists to Europe to avoid military service. While abroad, artists such as Joaquin Rodrigo (1912-93), Paula Rego (1935-), João Cutileiro (1947-), and others forged links with British, French, Italian, and Spanish artistic communities.The Revolution of 25 April 1974 created a crisis for Portugal's artists. The market for works of art collapsed as left-wing governments, claiming that they had more important things to do (eliminate poverty, improve education), withdrew support for the arts. Artists declared their talents to be at the "service of the people," and a brief period of socialist realism prevailed. With the return of political stability and moderate governments during the 1980s, Portugal's commercial art scene revived, and a new period of creativity began. Disenchantment with the socialist realism (utopianism) of the Revolution and a deepening of individualism began to be expressed by Portuguese artists. Investment in the arts became a means of demonstrating one's wealth and social status, and an unprecedented number of art galleries opened, art auctions were held, and a new generation of artists became internationally recognized. In 1984, a museum of modern art was built by the Gulbenkian Foundation adjacent to its offices on the Avenida de Berna in Lisbon. A national museum of modern art was finally built in Oporto in 1988.In the 1980s, Portugal's new generation of painters blended post-conceptualism and subjectivism, as well as a tendency toward decon-structionism/reconstructionism, in their work. Artists such as Cabrita Reis (1956-), Pedro Calapez (1953-), José Pedro Croft (1957-), Rui Sanches (1955-), and José de Guimarães (1949-) gained international recognition during this period. Guimarães crosses African art themes with Western art; Sarmento invokes images of film, culture, photography, American erotica, and pulp fiction toward sex, violence, and pleasure; Reis evolved from a painter to a maker of installation artist using chipboard, plaster, cloth, glass, and electrical and plumbing materials.From the end of the 20th century and during the early years of the 21st century, Portugal's art scene has been in a state of crisis brought on by a declining art trade and a withdrawal of financial support by conservative governments. Although not as serious as the collapse of the 1970s, the current situation has divided the Portuguese artistic community between those, such as Cerveira Pito and Leonel Moura, who advocate a return to using primitive, strongly textured techniques and others such as João Paulo Feliciano (1963-), who paint constructivist works that poke fun at the relationship between art, money, society, and the creative process. Thus, at the beginning of the 21st century, the factors that have prevented Portuguese art from achieving and sustaining international recognition (the absence of a strong art market, depending too much on official state support, and the individualistic nature of Portuguese art production) are still to be overcome. -
6 PACE
1) Компьютерная техника: Plan Activate Check And Enable2) Медицина: Patient Administrative Cycle Enhancements, Progressive Accelerating Cardiopulmonary Exertion3) Военный термин: Pacific Airlift Center, Pacific alternate command element, Portable Acoustic Collection Equipment, Program Acquisition Cost Estimate, performance analysis by continuous evaluation, performance and cost evaluation, pocket automatic coding equipment, programmed automatic communications equipment, provisioning action control evaluation5) Химия: Process Analytical Control Equipment7) Юридический термин: Pro Active Criminal Enforcement, Probe Alert Challenge And Emergency, Programmed Activities For Correctional Education, Police and Criminal Evidence Act 19848) Политика: ПАСЕ (Parliamentary Assembly of the Council of Europe), Parliamentary Assembly of the Council of Europe, Парламентская ассамблея Совета Европы9) Телекоммуникации: Personal Audio Computer Editing10) Сокращение: Phased-Array Control Electronics, Producible Alternative to Cadmium telluride for Epitaxy, Proving & Adjustment for Communications Efficiency11) Университет: Program For Accelerated College Education, Program For Adult College Education, Project For Adult College Education12) Физиология: Post Abortion Counseling And Education, Processing Acceleration And Cerebral Enhancement13) Электроника: Programmable Arcade Circuit Emulator14) Вычислительная техника: Priority Access Control Enabled, processing and control element, program analysis control and evaluation, Priority Access Control Enabled (3Com, Ethernet)15) Транспорт: Pilot Aircraft Courtesy Evaluation16) Фирменный знак: Photographers At The Creative Edge17) Деловая лексика: Philadelphia Automated Communication and Execution System, Plan Activate Check Enable, Planners Architects And Consulting Engineers, Providing Access To Capital For Entrepreneurs, Purpose Audience Capacity Evaluation18) Образование: Parents Advancing Christian Education, Parents Advocacy Coordination And Education, Peer Adolescent Conflict Education, Personal And Community Enrichment, Positive Attitude Creates Excitement, Positive Attitudes Change Everything, Positive Attitudes Complement Education, Practical Academic And Cultural Education, Pride Arrogance Conflict And Enmity, Processing And Cognitive Education, Promoting A Challenging Education19) Сетевые технологии: технология контроля приоритетов доступа к носителю, управление с возможностью приоритетного доступа20) Контроль качества: performance-and-cost evaluation21) Расширение файла: Priority Access Control Enabled (3Com)22) МИД: Parliamentary Assembly of the CE23) Общественная организация: Presidents Award For Chapter Excellence -
7 pace
1) Компьютерная техника: Plan Activate Check And Enable2) Медицина: Patient Administrative Cycle Enhancements, Progressive Accelerating Cardiopulmonary Exertion3) Военный термин: Pacific Airlift Center, Pacific alternate command element, Portable Acoustic Collection Equipment, Program Acquisition Cost Estimate, performance analysis by continuous evaluation, performance and cost evaluation, pocket automatic coding equipment, programmed automatic communications equipment, provisioning action control evaluation5) Химия: Process Analytical Control Equipment7) Юридический термин: Pro Active Criminal Enforcement, Probe Alert Challenge And Emergency, Programmed Activities For Correctional Education, Police and Criminal Evidence Act 19848) Политика: ПАСЕ (Parliamentary Assembly of the Council of Europe), Parliamentary Assembly of the Council of Europe, Парламентская ассамблея Совета Европы9) Телекоммуникации: Personal Audio Computer Editing10) Сокращение: Phased-Array Control Electronics, Producible Alternative to Cadmium telluride for Epitaxy, Proving & Adjustment for Communications Efficiency11) Университет: Program For Accelerated College Education, Program For Adult College Education, Project For Adult College Education12) Физиология: Post Abortion Counseling And Education, Processing Acceleration And Cerebral Enhancement13) Электроника: Programmable Arcade Circuit Emulator14) Вычислительная техника: Priority Access Control Enabled, processing and control element, program analysis control and evaluation, Priority Access Control Enabled (3Com, Ethernet)15) Транспорт: Pilot Aircraft Courtesy Evaluation16) Фирменный знак: Photographers At The Creative Edge17) Деловая лексика: Philadelphia Automated Communication and Execution System, Plan Activate Check Enable, Planners Architects And Consulting Engineers, Providing Access To Capital For Entrepreneurs, Purpose Audience Capacity Evaluation18) Образование: Parents Advancing Christian Education, Parents Advocacy Coordination And Education, Peer Adolescent Conflict Education, Personal And Community Enrichment, Positive Attitude Creates Excitement, Positive Attitudes Change Everything, Positive Attitudes Complement Education, Practical Academic And Cultural Education, Pride Arrogance Conflict And Enmity, Processing And Cognitive Education, Promoting A Challenging Education19) Сетевые технологии: технология контроля приоритетов доступа к носителю, управление с возможностью приоритетного доступа20) Контроль качества: performance-and-cost evaluation21) Расширение файла: Priority Access Control Enabled (3Com)22) МИД: Parliamentary Assembly of the CE23) Общественная организация: Presidents Award For Chapter Excellence -
8 creativity
Gen Mgtthe generation of new ideas by approaching problems or existing practices in innovative or imaginative ways. Psychologists have disagreed on the nature of creativity. Until about 1980, research concentrated on identifying the personality traits of creative people, but more recently psychologists have focused on the mental processes involved. Creativity involves reexamining assumptions and reinterpreting facts, ideas, and past experience. A growing interest in creativity as a source of competitive advantage has developed in recent years, and creativity is considered important, not just for the development of new products and services, but also for its role in organizational decision making and problem solving. Many organizations actively seek a corporate culture that encourages creativity. There are a number of techniques used to foster creative thinking, including brainstorming and lateral thinking. Creativity is linked to innovation, the process of taking a new idea and turning it into a market offering. -
9 Computers
The brain has been compared to a digital computer because the neuron, like a switch or valve, either does or does not complete a circuit. But at that point the similarity ends. The switch in the digital computer is constant in its effect, and its effect is large in proportion to the total output of the machine. The effect produced by the neuron varies with its recovery from [the] refractory phase and with its metabolic state. The number of neurons involved in any action runs into millions so that the influence of any one is negligible.... Any cell in the system can be dispensed with.... The brain is an analogical machine, not digital. Analysis of the integrative activities will probably have to be in statistical terms. (Lashley, quoted in Beach, Hebb, Morgan & Nissen, 1960, p. 539)It is essential to realize that a computer is not a mere "number cruncher," or supercalculating arithmetic machine, although this is how computers are commonly regarded by people having no familiarity with artificial intelligence. Computers do not crunch numbers; they manipulate symbols.... Digital computers originally developed with mathematical problems in mind, are in fact general purpose symbol manipulating machines....The terms "computer" and "computation" are themselves unfortunate, in view of their misleading arithmetical connotations. The definition of artificial intelligence previously cited-"the study of intelligence as computation"-does not imply that intelligence is really counting. Intelligence may be defined as the ability creatively to manipulate symbols, or process information, given the requirements of the task in hand. (Boden, 1981, pp. 15, 16-17)The task is to get computers to explain things to themselves, to ask questions about their experiences so as to cause those explanations to be forthcoming, and to be creative in coming up with explanations that have not been previously available. (Schank, 1986, p. 19)In What Computers Can't Do, written in 1969 (2nd edition, 1972), the main objection to AI was the impossibility of using rules to select only those facts about the real world that were relevant in a given situation. The "Introduction" to the paperback edition of the book, published by Harper & Row in 1979, pointed out further that no one had the slightest idea how to represent the common sense understanding possessed even by a four-year-old. (Dreyfus & Dreyfus, 1986, p. 102)A popular myth says that the invention of the computer diminishes our sense of ourselves, because it shows that rational thought is not special to human beings, but can be carried on by a mere machine. It is a short stop from there to the conclusion that intelligence is mechanical, which many people find to be an affront to all that is most precious and singular about their humanness.In fact, the computer, early in its career, was not an instrument of the philistines, but a humanizing influence. It helped to revive an idea that had fallen into disrepute: the idea that the mind is real, that it has an inner structure and a complex organization, and can be understood in scientific terms. For some three decades, until the 1940s, American psychology had lain in the grip of the ice age of behaviorism, which was antimental through and through. During these years, extreme behaviorists banished the study of thought from their agenda. Mind and consciousness, thinking, imagining, planning, solving problems, were dismissed as worthless for anything except speculation. Only the external aspects of behavior, the surface manifestations, were grist for the scientist's mill, because only they could be observed and measured....It is one of the surprising gifts of the computer in the history of ideas that it played a part in giving back to psychology what it had lost, which was nothing less than the mind itself. In particular, there was a revival of interest in how the mind represents the world internally to itself, by means of knowledge structures such as ideas, symbols, images, and inner narratives, all of which had been consigned to the realm of mysticism. (Campbell, 1989, p. 10)[Our artifacts] only have meaning because we give it to them; their intentionality, like that of smoke signals and writing, is essentially borrowed, hence derivative. To put it bluntly: computers themselves don't mean anything by their tokens (any more than books do)-they only mean what we say they do. Genuine understanding, on the other hand, is intentional "in its own right" and not derivatively from something else. (Haugeland, 1981a, pp. 32-33)he debate over the possibility of computer thought will never be won or lost; it will simply cease to be of interest, like the previous debate over man as a clockwork mechanism. (Bolter, 1984, p. 190)t takes us a long time to emotionally digest a new idea. The computer is too big a step, and too recently made, for us to quickly recover our balance and gauge its potential. It's an enormous accelerator, perhaps the greatest one since the plow, twelve thousand years ago. As an intelligence amplifier, it speeds up everything-including itself-and it continually improves because its heart is information or, more plainly, ideas. We can no more calculate its consequences than Babbage could have foreseen antibiotics, the Pill, or space stations.Further, the effects of those ideas are rapidly compounding, because a computer design is itself just a set of ideas. As we get better at manipulating ideas by building ever better computers, we get better at building even better computers-it's an ever-escalating upward spiral. The early nineteenth century, when the computer's story began, is already so far back that it may as well be the Stone Age. (Rawlins, 1997, p. 19)According to weak AI, the principle value of the computer in the study of the mind is that it gives us a very powerful tool. For example, it enables us to formulate and test hypotheses in a more rigorous and precise fashion than before. But according to strong AI the computer is not merely a tool in the study of the mind; rather the appropriately programmed computer really is a mind in the sense that computers given the right programs can be literally said to understand and have other cognitive states. And according to strong AI, because the programmed computer has cognitive states, the programs are not mere tools that enable us to test psychological explanations; rather, the programs are themselves the explanations. (Searle, 1981b, p. 353)What makes people smarter than machines? They certainly are not quicker or more precise. Yet people are far better at perceiving objects in natural scenes and noting their relations, at understanding language and retrieving contextually appropriate information from memory, at making plans and carrying out contextually appropriate actions, and at a wide range of other natural cognitive tasks. People are also far better at learning to do these things more accurately and fluently through processing experience.What is the basis for these differences? One answer, perhaps the classic one we might expect from artificial intelligence, is "software." If we only had the right computer program, the argument goes, we might be able to capture the fluidity and adaptability of human information processing. Certainly this answer is partially correct. There have been great breakthroughs in our understanding of cognition as a result of the development of expressive high-level computer languages and powerful algorithms. However, we do not think that software is the whole story.In our view, people are smarter than today's computers because the brain employs a basic computational architecture that is more suited to deal with a central aspect of the natural information processing tasks that people are so good at.... hese tasks generally require the simultaneous consideration of many pieces of information or constraints. Each constraint may be imperfectly specified and ambiguous, yet each can play a potentially decisive role in determining the outcome of processing. (McClelland, Rumelhart & Hinton, 1986, pp. 3-4)Historical dictionary of quotations in cognitive science > Computers
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10 Reading
1) The Discovery of Truth Depends on the Thoughtful Reading of Authoritative TextsFor the Middle Ages, all discovery of truth was first reception of traditional authorities, then later-in the thirteenth century-rational reconciliation of authoritative texts. A comprehension of the world was not regarded as a creative function but as an assimilation and retracing of given facts; the symbolic expression of this being reading. The goal and the accomplishment of the thinker is to connect all these facts together in the form of the "summa." Dante's cosmic poem is such a summa too. (Curtius, 1973, p. 326)The readers of books... extend or concentrate a function common to us all. Reading letters on a page is only one of its many guises. The astronomer reading a map of stars that no longer exist; the Japanese architect reading the land on which a house is to be built so as to guard it from evil forces; the zoologist reading the spoor of animals in the forest; the card-player reading her partner's gestures before playing the winning card; the dancer reading the choreographer's notations, and the public reading the dancer's movements on the stage; the weaver reading the intricate design of a carpet being woven; the organ-player reading various simultaneous strands of music orchestrated on the page; the parent reading the baby's face for signs of joy or fright, or wonder; the Chinese fortune-teller reading the ancient marks on the shell of a tortoise; the lover blindly reading the loved one's body at night, under the sheets; the psychiatrist helping patients read their own bewildering dreams; the Hawaiian fisherman reading the ocean currents by plunging a hand into the water; the farmer reading the weather in the sky-all these share with book-readers the craft of deciphering and translating signs....We all read ourselves and the world around us in order to glimpse what and where we are. We read to understand, or to begin to understand. We cannot do but read. Reading, almost as much as breathing, is our essential function. (Manguel, 1996, pp. 6-7)There is a pitched battle between those theorists and modellers who embrace the primacy of syntax and those who embrace the primacy of semantics in language processing. At times both schools have committed various excesses. For example, some of the former have relied foolishly on context-free mathematical-combinatory models, while some of the latter have flirted with versions of the "direct-access hypothesis," the idea that skilled readers process printed language directly into meaning without phonological or even syntactic processing. The problems with the first excess are patent. Those with the second are more complex and demand more research. Unskilled readers apparently do rely more on phonological processing than do skilled ones; hence their spoken dialects may interfere with their reading-and writing-habits. But the extent to which phonological processing is absent in the skilled reader has not been established, and the contention that syntactic processing is suspended in the skilled reader is surely wrong and not supported by empirical evidence-though blood-flow patterns in the brain are curiously different during speaking, oral reading, and silent reading. (M. L. Johnson, 1988, pp. 101-102)Historical dictionary of quotations in cognitive science > Reading
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11 work
1. n1) работа, труд; производство2) печатный труд, сочинение, произведение3) pl предприятие4) pl механизм•to appeal to smb to return to work — призывать кого-л. вернуться на работу
to be the work of smb — быть делом рук кого-л.
to carry on / out work — выполнять / делать работу, заниматься работой
to conduct / to do work — выполнять / делать работу, заниматься работой
to co-ordinate the economic and social work — координировать экономическую и социальную деятельность
to cut / to lessen / to reduce the hours of work — сокращать рабочий день
to direct and co-ordinate smb's work — направлять и координировать чью-л. деятельность
to do the donkey work — разг. вкалывать, ишачить
to focus the work on economic and social development — сосредоточивать работу на социально-экономическом развитии
to initiate work — начинать работу, приступить к работе
to inspect smb's work — проверять чью-л. работу
to intensify the work — усиливать работу, интенсифицировать труд
to perform the work — выполнять / делать работу, заниматься работой
to pour sand in the work — перен. вставлять палки в колеса
to return to work — возвращаться на работу (напр. после забастовки)
to stay away from work — не выходить на работу; бастовать
to stop work — прекращать работу, бастовать
to supplement the work of smb — дополнять чью-л. работу
- active workto undertake work — браться за / начинать / предпринимать работу
- allotment of work
- amount of work
- brain work
- casual work
- classified work
- collective work
- contract work
- contractual work
- creative work
- cultural work
- day-to-day work
- dead horse work
- decontamination work
- development work
- disincentive to work
- educational work
- efficient work
- emergency work
- explanatory work
- extra work
- field work
- fruitful work
- full-time work
- habits of work
- hand work
- hard work
- health work
- ideological work
- improvement in work
- in search of work
- independent work
- international work
- joint work
- killing work
- low-paid work
- maintenance work
- manual work
- mental work
- odd work
- office work
- organizational work
- out of work
- overtime work
- pace of work
- part-time work
- person out of work
- physical work
- pick-and-shovel work
- Pickle Work
- piece work
- political work
- practical work
- preliminary work
- preparatory work
- productive work - public sector work
- public work
- publicity work
- quality of work
- regular work
- relief work
- research work
- return to work - rush work
- schedule work
- seasonal work
- short-time work
- skilled work
- skunk work
- slovenly work
- social work
- subsidiary work
- task work
- team work
- temporary work
- theoretical works
- those in work
- time work
- undercover works
- vital work
- volunteer work
- wage work
- wet work
- work in process
- year-round work 2. vработать; трудитьсяto work closely with smb — тесно сотрудничать с кем-л.
to work for Jesus — жарг. "работать на дядю" ( бесплатно выполнять дополнительную работу)
to work out — разрабатывать (план и т.п.)
to work together — работать вместе; сотрудничать
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12 staff
n кадр, особовий склад; персонал; службовий персонал; штат; співробітники; співпрацівники; a службовий; кадровийпрацівники, робітники чи службовці підприємства, установи і т. п.═════════■═════════administrative staff адміністративний персонал • адміністративно-управлінський апарат • адміністратори • адміністративні працівники; attendant staff черговий персонал; catering staff обслуговуючий персонал; clerical staff конторський персонал; competent staff компетентний персонал; consulting staff штат консультантів; coordinating staff координаційний персонал; counter staff персонал за касою; creative staff творчий персонал; daily paid staff поденно оплачуваний персонал; directing staff керівний персонал; editorial staff редакція • редакційний персонал • редакційні працівники; efficient staff ефективний персонал; engineering staff інженерно-технічний персонал; executive staff середній керівний персонал; fabrication staff виробничий персонал; farm staff працівники ферми; field staff виїзний персонал; general staff персонал, який займається питанням координації і планування; highly qualified staff висококваліфікований персонал; incompetent staff некомпетентний персонал; indoor staff персонал внутрішньої служби; industrial staff промисловий персонал; junior staff молодший персонал; junior service staff молодший обслуговуючий персонал; key staff основний персонал; key engineering staff основний інженерний склад; local staff місцевий персонал; maintenance staff обслуговуючий персонал • обслуга • обслуговуючий технічний персонал; management staff старший управлінський персонал • штат керівних працівників; managerial staff старший управлінський персонал • штат керівних працівників; managing staff старший управлінський персонал • штат керівних працівників; medical staff лікарський персонал; nursing staff персонал медсестер; office staff конторський персонал • конторські службовці; operating staff оперативний персонал • обслуговуючий персонал; part-time staff персонал, зайнятий неповний робочий день; permanent staff постійний персонал; planning staff апарат планування; process control staff персонал, який забезпечує контроль технологічного процесу; production staff виробничий персонал; qualified staff кваліфікований персонал; regular staff постійний персонал; salaried staff персонал, який одержує оклад; sales staff торговельний персонал; scientific staff науковий персонал; senior staff старший персонал; service staff обслуговуючий персонал; skeletal staff мінімально необхідний штат; skilled staff кваліфікований персонал; supervisory staff адміністративно-технічний персонал • персонал, який забезпечує технічний контроль; supporting staff допоміжний персонал; teaching staff навчальний персонал; technical staff технічний персонал; temporary staff тимчасовий персонал; trained staff тренований персонал; training staff навчальний персонал; unpaid staff неоплачувані штатні працівники; voluntary staff добровільний персонал═════════□═════════staff and line functions функції центрального апарату і рядових працівників; staff benefits вигоди для персоналу; staff bonds облігації для персоналу; staff briefing інструктаж персоналу; staff care послуги персоналу; staff costs витрати на утримання персоналу; staff department відділ кадрів; staff discount знижка для персоналу; staff expenses витрати на утримання персоналу; staff function функції центрального апарату підприємства; staff incentive заохочувальна винагорода для персоналу; staff increase збільшення кількості персоналу; staff instruction службова інструкція; staff loan позика для персоналу; staff management функціональне керівництво; staff management cooperation співпраця персоналу з керівниками; staff meeting збори персоналу • нарада особового складу; staff member представник персоналу; staff organization організаційна схема підлеглості; staff ownership власність персоналу; staff policy кадрова політика; staff reduction зменшення штатів • зменшення кількості персоналу; staff representative представник персоналу; staff retirement fund пенсійний фонд для персоналу; staff retirement plan план виходу персоналу на пенсію; staff rotation ротація персоналу; staff shareholding участь персоналу в акціонерному капіталі; staff shares акції персоналу; staff shortage нестача персоналу; staff suggestion box скринька для пропозицій персоналу; staff training навчання персоналу; staff training expenses витрати на навчання персоналу; staff turnover плинність персоналу; staff vacancies незаповнені штати/вакансії; to appoint staff наймати/найняти персонал; to be on the staff бути в штаті; to be short of staff відчувати/відчути нестачу персоналу; to dismiss staff звільняти/звільнити службовців; to employ staff наймати/найняти персонал; to engage staff наймати/ найняти персонал; to replace the staff заміняти/замінити персонал; to recruit staff вербувати персонал; to reduce the staff зменшувати/зменшити штат; to take on staff наймати/найняти персонал на службу* * *1.апарат; кадри; працівники; персонал; співробітник; співробітники; штат; штати2. v.укомплектованість кадрами; підбирати співробітників; набирати співробітників -
13 work
1) работа; труд || работать2) загрузка; работа, объём работы; задание по работе3) место работы, должность4) изделие; произведение; продукция5) pl завод; фабрика; мастерская6) pl строительные работы; сооружения7) обработка || обрабатывать8) действовать; приводить в действие; управлять9) разрабатывать; эксплуатировать; вести предприятие- at work- work off- work out- work up- bad work- day work- job work
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