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1 accumulating mechanism
Большой англо-русский и русско-английский словарь > accumulating mechanism
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2 accumulating mechanism
Англо-русский словарь технических терминов > accumulating mechanism
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3 accumulating mechanism
1) Техника: накопитель2) Лесоводство: накопитель (для деревьев)Универсальный англо-русский словарь > accumulating mechanism
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4 accumulating mechanism
Англо-русский сельскохозяйственный словарь > accumulating mechanism
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5 accumulating mechanism
Англо-русский словарь по деревообрабатывающей промышленности > accumulating mechanism
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6 mechanism
1) механизм; (механическое) устройство2) механизм [схема\] действия, процесса или реакции•mechanism for flattening metal strip mechanism — машина для правки полос металла-
by literal data mechanism
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by reference data mechanism
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by value data mechanism
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access mechanism
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accumulating mechanism
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active mechanism
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actuating mechanism
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aileron droop mechanism
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androgynous docking mechanism
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antenna drive mechanism
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artificial recovery mechanism
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automatic adjustment mechanism
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automatic breaker advance mechanism
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automatic drain mechanism
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automatic feed mechanism
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automatic focusing mechanism
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automatic needle selection mechanism
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automatic takeup mechanism
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automatic threading mechanism
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automatic toe closing mechanism
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automatic tool transport mechanism
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automatic transmission synchronous mechanism
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backspace mechanism
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banking mechanism
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belt let-off mechanism
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bidirectional mechanism
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blade retention mechanism
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blade-operating mechanism
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bleed valve control mechanism
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bogie-rotation mechanism
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boom kickout mechanism
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brace retraction mechanism
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brake actuating mechanism
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brake drum let-off mechanism
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bunching mechanism
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cam mechanism
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cam-and-lever mechanism
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carbon ribbon takeup mechanism
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casting-centering mechanism
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casting-withdrawal mechanism
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chopper bar mechanism
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clamping mechanism
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claw mechanism
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clutch withdrawal mechanism
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coin mechanism
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color control mechanism
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computer-oriented mechanism
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constant pitch spacing mechanism
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constant yam speed let-off mechanism
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control mechanism
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converter tilting mechanism
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copying mechanism
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Cottrell mechanism
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crank mechanism
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crimp mechanism
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cross border mechanism
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crossing-gate mechanism
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cryoprotection mechanism
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cutting mechanism
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data mechanism
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decision mechanism
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defibrator feed mechanism
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deformation mechanism
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discharging mechanism
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disk-drive mechanism
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disk-type reserve yarn feeding mechanism
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dispensing mechanism
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distributor mechanism
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dividing mechanism
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docking mechanism
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door-lifting mechanism
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door-removing mechanism
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doors sequence mechanism
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drilling mechanism
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drive mechanism
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dropper Jacquard mechanism
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dual-diaphragm advance mechanism
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electric switch mechanism
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electric takedown mechanism
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electrical let-off mechanism
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electric let-off mechanism
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electrode-positioning mechanism
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electronic beam control mechanism
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emergency governor mechanism
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engine shutoff mechanism
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engine torquemeter mechanism
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erection mechanism
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escapement mechanism
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executing mechanism
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expanding brake let-off mechanism
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failure mechanism
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fall plate mechanism
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feathering mechanism
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feeding mechanism
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feed mechanism
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feel spring mechanism
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film advance mechanism
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film collapsing mechanism
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film drive mechanism
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film-transport mechanism
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finger tilt mechanism
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fire-advance mechanism
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flashover mechanism
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following mechanism
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fracture mechanism
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friction brake let-off mechanism
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friction mechanism
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future azimuth mechanism
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gate-operating mechanism
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gathering mechanism
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gear locking mechanism
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gear retracting mechanism
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gear shift mechanism
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Geneva cross mechanism
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gripping mechanism
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gyro leveling mechanism
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hardening mechanism
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hitch-mechanism
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hoisting mechanism
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hold-down mechanism
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hosiery stitch control mechanism
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hydraulic let-off mechanism
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indexing mechanism
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inertia drive mechanism
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inking mechanism
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input mechanism
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invert mechanism
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jaw-release mechanism
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jet and flapper mechanism
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kickoff mechanism
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latches-equipped docking mechanism
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latching mechanism
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let-off mechanism
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lid-lifting mechanism
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lifting mechanism
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link mechanism
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load feel mechanism
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locking mechanism
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Mach-feel mechanism
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machine wear mechanism
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make-and-break mechanism
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maltese-cross mechanism
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manipulator mechanism
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Mayer let-off mechanism
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measurement mechanism
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measuring mechanism
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mechanical let-off mechanism
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mold-moving mechanism
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mold-reciprocating mechanism
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motor-operated mechanism
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motor-operated spring mechanism
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natural recovery mechanism
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needle bar down motion mechanism
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needle selecting mechanism
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open active mechanism
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operating mechanism
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orienting mechanism
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output mechanism
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paper-advance mechanism
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parallel control mechanism
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parison transfer mechanism
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parts-feeder mechanism
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pattern chain mechanism
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pattern drum mechanism
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pattern mechanism
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pattern wheels mechanism
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peg control drum mechanism
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periphery-type docking mechanism
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periphery docking mechanism
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pick-and-place mechanism
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pip squeak mechanism
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pipe kickoff mechanism
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pitch-changing mechanism
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pitch-control mechanism
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pitch-lock mechanism
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planting mechanism
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point operating mechanism
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position sensing mechanism
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positive warp let-off mechanism
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positive let-off mechanism
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positive intermittent let-off mechanism
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pouring nozzle and stopper rod mechanism
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power takeoff mechanism
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predetermined rackage stop mechanism
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presser foot mechanism
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printing mechanism
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propeller synchronization mechanism
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proportional pitch spacing mechanism
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pull-down claw mechanism
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pull-down mechanism
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pulling-and-running mechanism
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push-up mechanism
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q-feel mechanism
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quick stitch mechanism
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rack mechanism
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recovery mechanism
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registration mechanism
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release mechanism
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releasing mechanism
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relief mechanism
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reversing mechanism
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ribbon feed mechanism
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ribbon lift mechanism
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rocker mechanism
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rolling-up mechanism
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roof swinging mechanism
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rough air mechanism
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sag-bending mechanism
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scanner fabric stop-motion mechanism
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screw-down mechanism
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seeding mechanism
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self-threading mechanism
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self-timing mechanism
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selvage stiffener mechanism
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servo mechanism
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shear mechanism
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shift mechanism
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shutter dissolve mechanism
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single frame mechanism
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slitting mechanism
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sluicing mechanism
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snap-action mechanism
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spacing mechanism
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spatial mechanism
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spoiler differential mechanism
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starting mechanism
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step mechanism
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stitch-holding mechanism
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stitch-shortening mechanism
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stop motion mechanism
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stopping mechanism
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strip-processing mechanism
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takedown tension mechanism
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takedown mechanism
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takeup mechanism
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tape-drive mechanism
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tape-feed mechanism
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tape-recording mechanism
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tape-transport mechanism
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tilt mechanism
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tilting-basket mechanism
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tool-lock mechanism
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tool-select mechanism
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transfer mechanism
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transfer-loader mechanism
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transmission shift mechanism
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trigger mechanism
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tripping mechanism
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tuning mechanism
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twisting mechanism
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upset mechanism
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vacuum advance mechanism
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variable aperture diaphragm mechanism
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warp stop motion mechanism
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weft color change mechanism
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weft insertion mechanism
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weighing mechanism
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welt mechanism
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wind disturbance mechanism
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wrapping mechanism -
7 накопитель
accumulator, buffer unit машиностр., hopper, integrator, ( спутников) load magazine, accumulating mechanism, receiver, stacker, stocker, storage, storage device, storage unit, store -
8 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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