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1 Sykes, Adrian F.
[br]fl. 1920s Britain[br]English engineer who developed several early mechanical and electromechanical recording systems.[br]The BBC used the Round-Sykes microphone.In 1928 Sykes collaborated with W.D.Sternberg of British Homophone to exploit his patents on recording systems.Sykes's contribution to sound recording lies in the thorough analysis of the basic phenomena in the mechanical side of recording. These analyses are expressed by his many patent applications which merged into complete specifications. His basic patent on electromechanical recording caused a fair amount of litigation in Germany.GB-N -
2 public broadcasting service
1) СМИ., гос. упр. общественное вещание (вещание некоммерческих СМИ на средства, собранные со слушателей и телезрителей)2) СМИ, гос. упр. = !"может быть, просто ""public broadcasting"", а не ""public broadcasting service""?"!"The Public Broadcasting Service ( PBS) is a non-profit public broadcasting television service with 354 member TV stations in the United States, with some member stations available over the air and by cable in Canada. While the term ""broadcasting"" encompasses both radio and television, PBS only covers TV; public radio in the United States is served by National Public Radio, as well as content providers American Public Media, and Public Radio International."PBS was founded on November 3, 1969,[1\] at which time it took over many of the functions of its predecessor, National Educational Television (NET) (which merged with station WNDT Newark, New Jersey to form WNET). It commenced broadcasting on Monday, October 5, 1970. In 1973, it merged with Educational Television Stations.PBS is a non-profit, private corporation which is owned collectively by its member stations.[2\] However, its operations are largely funded by the Corporation for Public Broadcasting. Its headquarters are in Arlington, Virginia.Unlike the commercial television broadcast model of American networks such as ABC, CBS, FOX, NBC, The CW and MyNetworkTV, in which affiliates give up portions of their local advertising airtime in exchange for network programming, PBS member stations pay substantial fees for the shows acquired and distributed by the national organization."This relationship means that PBS member stations have greater latitude in local scheduling than their commercial counterparts. Scheduling of PBS-distributed series may vary greatly from market to market. This can be a source of tension as stations seek to preserve their localism and PBS strives to market a consistent national line-up. However, PBS has a policy of ""common carriage"" requiring most stations to clear the national prime time programs on a common schedule, so that they can be more effectively marketed on a national basis. This setup is in many ways similar to the pre-2002 British ITV system of having some ""networked"" programs shown nationwide on all network contractors, and the remainder of scheduling being up to individual affiliates." "Unlike its radio counterpart, National Public Radio, PBS has no central program production arm or news department. All of the programming carried by PBS, whether news, documentary, or entertainment, is created by (or in most cases produced under contract with) other parties, such as individual member stations. WGBH in Boston is one of the largest producers of educational programming. News programs are produced by WETA-TV in Washington, D.C., WNET in New York and WPBT in Miami. The Charlie Rose interview show, Secrets of the Dead, NOW, Nature, Cyberchase, and The NewsHour with Jim Lehrer come from or through WNET in New York. Once a program is offered to and accepted by PBS for distribution, PBS (and not the member station that supplied the program) retains exclusive rights for rebroadcasts during the period for which such rights were granted; the suppliers do maintain the right to sell the program in non-broadcast media such as DVDs, books, and sometimes PBS licensed merchandise (but sometimes grant such ancillary rights as well to PBS)." "PBS stations are commonly operated by non-profit organizations, state agencies, local authorities (e.g., municipal boards of education), or universities in their community of license. In some states, PBS stations throughout the entire state may be organized into a single regional ""subnetwork"" (e.g., Alabama Public Television). Unlike Canada's CBC/SRC, PBS does not own any of the stations that broadcast its programming. This is partly due to the origins of the PBS stations themselves, and partly due to historical license issues."In the modern broadcast marketplace, this organizational structure is considered outmoded by some media critics. A common restructuring proposal is to reorganize the network so that each state would have one PBS affiliate which would broadcast state-wide. However, this proposal is controversial, as it would reduce local community input into PBS programming, especially considering how PBS stations are significantly more community-oriented, according to the argument, than their commercial counterparts.* * *Англо-русский экономический словарь > public broadcasting service
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3 company
['kʌmpənɪ]n1) компания, группа, общество, гостиI cannot bear (stand) the man's company. — Я не переношу общества этого человека.
I'm afraid I've been seen in his company. — Боюсь, что меня с ними видели.
I'll come with you for company. — Я пойду с тобой за компанию.
- good companyI'll keep you company. — Я составлю тебе компанию.
- jolly company
- select company
- young company
- company of boys and girls
- one's company at dinner
- company of women
- with only a dog for company co
- be shy in the company of strangers
- be fond of bright company
- be cheerful in company
- break company
- enter a company
- entertain the company with music
- fall into company with smb
- get into bad company
- go out without company
- have company
- join company with smb
- keep company with smb
- keep to one's own company
- keep smb company
- know a man by his company
- love the company of children
- part company with smb
- receive much company
- see a great deal of company
- see company
- seek the company of gamblers
- shun company
- take a friend for company
- go with a friend for company2) труппа, ансамбль артистовSee:I saw the company at our theatre during their tour. — Я видел представления этой труппы в нашем театре во время их гастролей.
- theatrical companyThe king's company of French comedians plays here every night. — Королевская труппа французских актеров играет здесь представления каждый вечер.
- world touring company3) компания, фирма, товарищество, акционерное обществоThe company employs many workers. — В компании работает много рабочих.
The company went bankrupt. — Компания обанкротилась.
A man is known by his company. /Show me your company and I'll tell you what you are. — Скажи мне. Кто твой друг, и я скажу тебе, кто ты.
- business company- insurance company
- parent company
- foreign company
- private company
- pure swindling company
- trading company
- holding company
- forwarding company
- cooperative building company
- motor-vehicle manufacturing company
- vehicle producing company
- bubble company
- member companies
- merged companies
- company of long standing
- company accredited in many countries
- company store
- company gunmen
- amalgamate companies
- be an employee in a company
- boom a company
- serve a company with scrupulous fidelity
- start a company
- start a mutual loan company
- sue a company for damages
- work for a big company
- company pays well
- company went bankrupt•USAGE:(1.) Существительное company 1. относится к собирательным существительным и эквивалентно русским гости, общество, общение. Оно употребляется без артикля или с определенным артиклем в зависимости от ситуаций: to have (to expect) company ожидать гостей; to keep smb company составить кому-либо компанию; she is poor company она скучный собеседник; the company broke up early гости разошлись рано. (2.) Русским предложениям Мы идем в гости соответствуют We are going to a party/We are visiting to-day/We have to make/to pay a visit; У нас сегодня гости We are going to have a party/We have visitors. Русское словосочетание "в гостях" соответствует английским at the play и at the reception. (3.) See family, n -
4 Creativity
Put in this bald way, these aims sound utopian. How utopian they areor rather, how imminent their realization-depends on how broadly or narrowly we interpret the term "creative." If we are willing to regard all human complex problem solving as creative, then-as we will point out-successful programs for problem solving mechanisms that simulate human problem solvers already exist, and a number of their general characteristics are known. If we reserve the term "creative" for activities like discovery of the special theory of relativity or the composition of Beethoven's Seventh Symphony, then no example of a creative mechanism exists at the present time. (Simon, 1979, pp. 144-145)Among the questions that can now be given preliminary answers in computational terms are the following: how can ideas from very different sources be spontaneously thought of together? how can two ideas be merged to produce a new structure, which shows the influence of both ancestor ideas without being a mere "cut-and-paste" combination? how can the mind be "primed," so that one will more easily notice serendipitous ideas? why may someone notice-and remember-something fairly uninteresting, if it occurs in an interesting context? how can a brief phrase conjure up an entire melody from memory? and how can we accept two ideas as similar ("love" and "prove" as rhyming, for instance) in respect of a feature not identical in both? The features of connectionist AI models that suggest answers to these questions are their powers of pattern completion, graceful degradation, sensitization, multiple constraint satisfaction, and "best-fit" equilibration.... Here, the important point is that the unconscious, "insightful," associative aspects of creativity can be explained-in outline, at least-by AI methods. (Boden, 1996, p. 273)There thus appears to be an underlying similarity in the process involved in creative innovation and social independence, with common traits and postures required for expression of both behaviors. The difference is one of product-literary, musical, artistic, theoretical products on the one hand, opinions on the other-rather than one of process. In both instances the individual must believe that his perceptions are meaningful and valid and be willing to rely upon his own interpretations. He must trust himself sufficiently that even when persons express opinions counter to his own he can proceed on the basis of his own perceptions and convictions. (Coopersmith, 1967, p. 58)he average level of ego strength and emotional stability is noticeably higher among creative geniuses than among the general population, though it is possibly lower than among men of comparable intelligence and education who go into administrative and similar positions. High anxiety and excitability appear common (e.g. Priestley, Darwin, Kepler) but full-blown neurosis is quite rare. (Cattell & Butcher, 1970, p. 315)he insight that is supposed to be required for such work as discovery turns out to be synonymous with the familiar process of recognition; and other terms commonly used in the discussion of creative work-such terms as "judgment," "creativity," or even "genius"-appear to be wholly dispensable or to be definable, as insight is, in terms of mundane and well-understood concepts. (Simon, 1989, p. 376)From the sketch material still in existence, from the condition of the fragments, and from the autographs themselves we can draw definite conclusions about Mozart's creative process. To invent musical ideas he did not need any stimulation; they came to his mind "ready-made" and in polished form. In contrast to Beethoven, who made numerous attempts at shaping his musical ideas until he found the definitive formulation of a theme, Mozart's first inspiration has the stamp of finality. Any Mozart theme has completeness and unity; as a phenomenon it is a Gestalt. (Herzmann, 1964, p. 28)Great artists enlarge the limits of one's perception. Looking at the world through the eyes of Rembrandt or Tolstoy makes one able to perceive aspects of truth about the world which one could not have achieved without their aid. Freud believed that science was adaptive because it facilitated mastery of the external world; but was it not the case that many scientific theories, like works of art, also originated in phantasy? Certainly, reading accounts of scientific discovery by men of the calibre of Einstein compelled me to conclude that phantasy was not merely escapist, but a way of reaching new insights concerning the nature of reality. Scientific hypotheses require proof; works of art do not. Both are concerned with creating order, with making sense out of the world and our experience of it. (Storr, 1993, p. xii)The importance of self-esteem for creative expression appears to be almost beyond disproof. Without a high regard for himself the individual who is working in the frontiers of his field cannot trust himself to discriminate between the trivial and the significant. Without trust in his own powers the person seeking improved solutions or alternative theories has no basis for distinguishing the significant and profound innovation from the one that is merely different.... An essential component of the creative process, whether it be analysis, synthesis, or the development of a new perspective or more comprehensive theory, is the conviction that one's judgment in interpreting the events is to be trusted. (Coopersmith, 1967, p. 59)In the daily stream of thought these four different stages [preparation; incubation; illumination or inspiration; and verification] constantly overlap each other as we explore different problems. An economist reading a Blue Book, a physiologist watching an experiment, or a business man going through his morning's letters, may at the same time be "incubating" on a problem which he proposed to himself a few days ago, be accumulating knowledge in "preparation" for a second problem, and be "verifying" his conclusions to a third problem. Even in exploring the same problem, the mind may be unconsciously incubating on one aspect of it, while it is consciously employed in preparing for or verifying another aspect. (Wallas, 1926, p. 81)he basic, bisociative pattern of the creative synthesis [is] the sudden interlocking of two previously unrelated skills, or matrices of thought. (Koestler, 1964, p. 121)11) The Earliest Stages in the Creative Process Involve a Commerce with DisorderEven to the creator himself, the earliest effort may seem to involve a commerce with disorder. For the creative order, which is an extension of life, is not an elaboration of the established, but a movement beyond the established, or at least a reorganization of it and often of elements not included in it. The first need is therefore to transcend the old order. Before any new order can be defined, the absolute power of the established, the hold upon us of what we know and are, must be broken. New life comes always from outside our world, as we commonly conceive that world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." (Ghiselin, 1985, p. 4)New life comes always from outside our world, as we commonly conceive our world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." Chaos and disorder are perhaps the wrong terms for that indeterminate fullness and activity of the inner life. For it is organic, dynamic, full of tension and tendency. What is absent from it, except in the decisive act of creation, is determination, fixity, and commitment to one resolution or another of the whole complex of its tensions. (Ghiselin, 1952, p. 13)[P]sychoanalysts have principally been concerned with the content of creative products, and with explaining content in terms of the artist's infantile past. They have paid less attention to examining why the artist chooses his particular activity to express, abreact or sublimate his emotions. In short, they have not made much distinction between art and neurosis; and, since the former is one of the blessings of mankind, whereas the latter is one of the curses, it seems a pity that they should not be better differentiated....Psychoanalysis, being fundamentally concerned with drive and motive, might have been expected to throw more light upon what impels the creative person that in fact it has. (Storr, 1993, pp. xvii, 3)A number of theoretical approaches were considered. Associative theory, as developed by Mednick (1962), gained some empirical support from the apparent validity of the Remote Associates Test, which was constructed on the basis of the theory.... Koestler's (1964) bisociative theory allows more complexity to mental organization than Mednick's associative theory, and postulates "associative contexts" or "frames of reference." He proposed that normal, non-creative, thought proceeds within particular contexts or frames and that the creative act involves linking together previously unconnected frames.... Simonton (1988) has developed associative notions further and explored the mathematical consequences of chance permutation of ideas....Like Koestler, Gruber (1980; Gruber and Davis, 1988) has based his analysis on case studies. He has focused especially on Darwin's development of the theory of evolution. Using piagetian notions, such as assimilation and accommodation, Gruber shows how Darwin's system of ideas changed very slowly over a period of many years. "Moments of insight," in Gruber's analysis, were the culminations of slow long-term processes.... Finally, the information-processing approach, as represented by Simon (1966) and Langley et al. (1987), was considered.... [Simon] points out the importance of good problem representations, both to ensure search is in an appropriate problem space and to aid in developing heuristic evaluations of possible research directions.... The work of Langley et al. (1987) demonstrates how such search processes, realized in computer programs, can indeed discover many basic laws of science from tables of raw data.... Boden (1990a, 1994) has stressed the importance of restructuring the problem space in creative work to develop new genres and paradigms in the arts and sciences. (Gilhooly, 1996, pp. 243-244; emphasis in original)Historical dictionary of quotations in cognitive science > Creativity
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5 party
n1) партия2) группа3) отряд4) участник, юр. сторона•to ban a party — запрещать партию; объявлять партию вне закона
to be a party to smth — быть причастным к чему-л.
to belong to a party — принадлежать какой-л. партии
to call upon the parties to smth — призывать стороны к чему-л.; требовать от сторон чего-л.
to campaign for a party — вести предвыборную кампанию какой-л. партии
to emerge from the general election as the biggest single party — получать абсолютное большинство голосов на выборах ( о партии)
to follow a party — быть сторонником какой-л. партии
to hold a party together — сплачивать партию; сохранять единство партии
to inflict a smashing defeat on a party — наносить какой-л. партии сокрушительное поражение
to legalize / to legitimize a party — легализовывать / узаконивать партию
to merge with a party — объединяться с какой-л. партией
to place the parties in a position of inequality before the court — ставить стороны в неравное положение перед судом
to put the party on a good footing to fight for smth — создавать хорошие предпосылки для борьбы партии за что-л.
to rejuvenate a party — омолаживать партию; оживлять деятельность партии
to relinquish one's presidency of a party — отказываться от своего поста председателя партии
to shoot past a party — обходить какую-л. партию ( на выборах)
- agrarian partyto write a part's obituary — перен. хоронить партию
- approved party
- attacking party
- authorized party
- beleaguered party
- breakaway party
- breakup of a party
- center party
- centrist party
- clerical party
- coalition parties
- communist party
- conflicting parties
- Congress party
- Conservative party
- conservative wing of a party
- constitution of a party
- contending parties
- contracting party
- decline center-right parties
- defaulting party
- demise of a political party
- Democratic party
- departure from a party
- disbandment of a party
- disputing parties
- dissolution of a party
- dominant party
- ecological party
- environmentally responsible party
- expulsion from the party
- extreme right-wing party
- far-right party
- feuding parties
- founder of a party
- fraternal party
- fringe party
- fusion of two parties
- G.O.P
- governing party
- Grand Old Party
- grassroot organization of a party
- Green party
- groups outside the party
- guilty party
- hard-line party
- High Contracting Parties
- incumbent party
- independent party
- influential party
- injured party
- interested party
- involved parties
- Labour Party
- landing party
- lay parties
- leading parties
- left party
- leftist party
- left-of-center party
- left-wing party
- legal party
- legitimate party
- Liberal Democratic Party
- liberal party
- Liberal Party
- liberal wing of the party
- mainstream parties
- majority party
- marginalization of a party
- mature party
- merged party
- merger of two parties
- middle-of-the-road party
- middle-road party
- militant and tried party
- minor party
- moderate party
- much-shrunk party
- multiplicity of parties
- national convention of a party
- national-democratic party
- nationalist party
- Nazi party
- new splinter party
- newly formed party
- one's power base in the party
- opposing parties
- opposite party
- opposition party
- parliamentary party
- party at fault
- party has disintegrated
- party in office
- party in power
- party in the war
- party is down one per cent
- party is very much back in its stride
- party is well ahead of all the other parties combined
- party of division
- party of government
- party of privilege
- party of social concern
- party of the people
- party of the right
- party to a case
- party to a conference
- party to a lawsuit
- party to an agreement
- party to conflict
- party to dispute
- party to legal proceedings
- party wedded to a system
- parties concerned
- parties involved
- parties of the government coalition
- parties to a treaty
- parties to the Statute of the International Court of Justice
- people's party
- pillar of a party
- political extinction of a party
- political in-fighting within a party
- political party
- progressive party
- pro-reform party
- pro-western party
- purge of the party
- radical party
- raiding party
- reactionary party
- rebels within a party
- reformist party
- registered party
- Republican Party
- rescue party
- revolutionary party
- right party
- right-wing party
- rigidly disciplined party
- routing of a party
- row within the party
- ruling party
- Social Democratic Party
- socialist party
- Social-Liberal Democratic Party
- split within a party over smth
- suspension of political parties
- the biggest single party
- the two parties are split on smth
- third party
- Tory party
- ultra-religious parties
- unity of the party
- viable party
- warring parties
- with the consent of the parties
- working party -
6 company
§ კომპანია, საზოგადოება, წრე; ასეული§1 წრე, კომპანიაmy son keeps bad company ჩემი ვაჟი ცუდ წრეშია / წრეში ტრიალებს2 კომპანიონიhe is a good company on a trip მგზავრობაში კარგი ამხანაგია / კომპანიონია3 საწარმოო ამხანაგობა, კომპანია4 დასი, ანსამბლი5 ასეული (ჯარის ქვეგანაყოფი)●●to part company with smb. ვინმესთან მეგობრობის გაწყვეტაa rowdy meeting / company ხმაურიანი კრება / კომპანიაhe felt superfluous in their company მათ წრეში თავს ზედმეტად / უცხოდ გრძნობდაhe has a stake in this company ამ კომპანიაში წილი აქვს // კომპანიის მეპაიეაthese two companies merged ეს ორი კომპანია შეერთდა / გაერთიანდაhe is always very humble in the company of his superiors თავის უფროსებთან ყოველთვის ძალიან მოკრძალებულია / მორიდებულიაhe directs a big company დიდ კომპანიას მართავს / უდგას სათავეშიthe boy fell into bad company and went astray ბიჭი ცუდ წრეში მოხვდა და ცუდ გზასthey appointed him president of the company კომპანიის პრეზიდენტად დანიშნეს
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