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artistic genius

  • 1 artistic genius

    • taiteilijaluonne

    English-Finnish dictionary > artistic genius

  • 2 artistic genius

    English-Russian combinatory dictionary > artistic genius

  • 3 genius

    ˈdʒi:njəs сущ.
    1) мн. - genii гений, дух It seemed as if the Genius of the Weather sat in mournful meditation on the threshold. (Dickens, Christm. Carol) ≈ Создавалось впечатление, что Дух Погоды в скорбном раздумье сидит на пороге. a good genius ≈ добрый гений (человека) a evil genius ≈ злой гений (человека) Syn: spirit
    1.
    2) только ед. одаренность;
    гениальность to demonstrate, show genius ≈ проявлять гениальность rare genius ≈ редкая, исключительная одаренность a spark of genius ≈ проблеск гениальности a man of genius ≈ гениальный человек Syn: gift
    1., talent
    3) мн. geniuses гений, гениальный человек, гениальная личность artistic genius ≈ гениальный актер budding genius ≈ юное дарование inventive genius ≈ гениальный изобретатель mathematical genius ≈ гениальный математик mechanical genius ≈ гениальный механик military genius ≈ военный гений musical genius ≈ гениальный музыкант
    4) талант, склонность He had a genius for getting along with boys. ≈ Он обладал талантом прекрасно ладить с ребятами. Mr. Gladstone has an extraordinary genius for finance. ≈ У мистера Гладстона был талант финансиста. He has a genius for getting into trouble. ≈ У него особый талант попадать во всякие переделки. Syn: penchant
    5) мн. geniuses а) дух (времени, нации и т. п.) the genius of the time ≈ дух времени the genius of our constitution ≈ дух нашей конституции the genius of our tongue ≈ дух, специфика нашего языка This flexibility was foreign to the genius of the Spaniard. ≈ Эта уступчивость была чужда духу испанца. б) чувства, настроения, связанные с каким-л. местом одаренность;
    гениальность - a man of * гениальный человек - Goethe had * Гете был гениальным писателем - the impress of * печать гениальности - it is a work of * это гениальное произведение - there's * in the way this was painted эта картина была написана гениально (pl -niuses) гений, гениальный человек, гениальная личность - Shakespeare was a true * Шекспир был поистине гением (тк. в ед. ч.) талант;
    склонность;
    способность - * for /to/ acting актерский талант - to have a * for music обладать большими музыкальными способностями - he has a * for making friends у него особый талант заводить друзей /сходиться с людьми/, он гений общения - he's got a * for saying the wrong thing он вечно говорит не то, что следует( pl -nii) гений, дух - good * добрый дух /гений/ - tutelar(y) * ангел-хранитель - he is my evil * он мой злой гений (pl -niuses) чувства, настроения, связанные с каким-л. местом (pl -niuses) дух (века, времени, языка, закона, нации и т. п.) - the * of the Renaissance period дух эпохи возрождения - the French * дух французского народа - war is repugnant to the * of the people война противна духу народа - the * of our langauge is its use of short words which do not change their endings специфика нашего языка состоит в употреблении коротких слов, окончания которых не изменяются genius (pl ses) гений, гениальный человек, гениальная личность ~ (pl genii) гений, дух;
    good (evil) genius добрый (злой) дух, добрый (злой) гений ~ (pl ses) дух (века, времени, нации, языка, закона) ~ (pl ses) чувства, настроения, связанные с (каким-л.) местом ~ (тк. sing) одаренность;
    гениальность;
    a man of genius гениальный человек ~ (pl genii) гений, дух;
    good (evil) genius добрый (злой) дух, добрый (злой) гений ~ (тк. sing) одаренность;
    гениальность;
    a man of genius гениальный человек man: ~ of family знатный человек;
    амер. семейный человек;
    man of genius гениальный человек

    Большой англо-русский и русско-английский словарь > genius

  • 4 genius

    ['ʤiːnɪəs]
    сущ.; лат.
    1) мн. genii гений, дух

    ... it seemed as if the Genius of the Weather sat in mournful meditation on the threshold. (Ch. Dickens, A Christmas Carol) —... словно сам злой дух непогоды сидел там, погружённый в тяжёлое раздумье. (пер. Т. Озерской)

    Syn:
    2) одарённость; гениальность

    rare genius — редкая, исключительная одарённость

    to demonstrate / show genius — проявлять гениальность

    Syn:
    3) мн. geniuses гений, гениальный человек, гениальная личность
    4) талант, склонность

    He had a genius for getting along with boys. — Он обладал талантом прекрасно ладить с ребятами.

    Mr. Gladstone has an extraordinary genius for finance. — У мистера Гладстона талант финансиста.

    He has a genius for getting into trouble. — У него особый талант попадать во всякие переделки.

    Syn:
    5) мн. genii
    а) дух (времени, нации)

    the genius of our tongue — дух, специфика нашего языка

    This flexibility was foreign to the genius of the Spaniard. — Эта уступчивость была чужда духу испанца.

    б) чувства, настроения, связанные с каким-л. местом

    Англо-русский современный словарь > genius

  • 5 genius

    ['dʒiːnɪəs]
    n
    гений, гениальный человек, гениальная личность, дарование
    - budding genius
    - inventive genius
    - mathematical genius
    - military genius
    - man of genius
    - painting of genius

    English-Russian combinatory dictionary > genius

  • 6 taiteilijaluonne

    • artistic genius

    Suomi-Englanti sanakirja > taiteilijaluonne

  • 7 genial

    adj.
    1 of genius.
    2 great (wonderful).
    3 brilliant, bright, characterized be genius, genial.
    4 witty.
    * * *
    1 brilliant, inspired
    2 familiar terrific, great, smashing
    1 familiar great
    * * *
    ADJ
    1) (=de talento) brilliant, of genius

    escritor genial — brilliant writer, writer of genius

    2) (=estupendo) wonderful, marvellous, marvelous (EEUU)

    ¡eso fue genial! — it was wonderful o marvellous!

    3) (=ocurrente) witty
    4) (=placentero) pleasant, genial; (=afable) cordial, affable
    * * *
    a) < idea> brilliant; <escritor/pintor> brilliant
    b) (fam) ( estupendo) great (colloq), fantastic (colloq)
    c) (fam) (ocurrente, gracioso) witty, funny
    * * *
    = brilliant, inspired, masterly, masterful, great.
    Ex. This conference has been blessed with the presence of the brilliant mind of Seymour Lubetzky.
    Ex. The file-as-is principle means that collocation of similar headings is provided by the consistent use of uniform headings, and does not rely upon their inspired filing.
    Ex. He shows a masterly command of imagery throughout, but his style has always left little margin for error, and the errors here are bothersome.
    Ex. He was a masterful storyteller who could modulate from the sublime to the scatological in the blink of an eye.
    Ex. Click on 'add new experience', provide as much details as you can, and let us know why you think they are so great.
    ----
    * de una manera genial = in a masterful way.
    * pasarlo genial = have + a whale of a time.
    * * *
    a) < idea> brilliant; <escritor/pintor> brilliant
    b) (fam) ( estupendo) great (colloq), fantastic (colloq)
    c) (fam) (ocurrente, gracioso) witty, funny
    * * *
    = brilliant, inspired, masterly, masterful, great.

    Ex: This conference has been blessed with the presence of the brilliant mind of Seymour Lubetzky.

    Ex: The file-as-is principle means that collocation of similar headings is provided by the consistent use of uniform headings, and does not rely upon their inspired filing.
    Ex: He shows a masterly command of imagery throughout, but his style has always left little margin for error, and the errors here are bothersome.
    Ex: He was a masterful storyteller who could modulate from the sublime to the scatological in the blink of an eye.
    Ex: Click on 'add new experience', provide as much details as you can, and let us know why you think they are so great.
    * de una manera genial = in a masterful way.
    * pasarlo genial = have + a whale of a time.

    * * *
    1 (inspirado) ‹escritor/pintor› brilliant
    su última sinfonía es una obra genial his last symphony is a work of genius
    2 ( fam) (estupendo) great ( colloq), fantastic ( colloq), swell ( AmE colloq), brilliant ( BrE colloq)
    3 ( fam) (ocurrente, gracioso) witty, funny
    fue un golpe genial it was so funny!, it was brilliant! ( BrE colloq)
    tiene unas salidas geniales some of the things she comes out with are so funny o witty
    * * *

     

    genial adjetivo
    a) ‹idea/escritor/pintor› brilliant

    b) (fam) ( estupendo) great (colloq), fantastic (colloq);

    (fam) (ocurrente, gracioso) witty, funny
    genial
    I adjetivo brilliant
    familiar terrific
    II adverbio wonderfully
    ' genial' also found in these entries:
    English:
    brainstorm
    - brainwave
    - brilliant
    - genial
    - groovy
    - masterly
    - super
    - terrific
    - brain
    - mean
    - whale
    * * *
    ♦ adj
    1. [artista, escritor]
    un escritor genial an author of genius;
    Dalí fue un artista genial Dalí was an artistic genius
    2. Fam [estupendo] great, Br brilliant;
    me parece genial it sounds like a great idea to me;
    estuviste genial you were brilliant o great;
    Irónico
    ¡genial, tendré que empezar otra vez! great o Br brilliant! now I'll have to start all over again!
    ♦ adv
    Fam brilliantly;
    canta genial she's a great o Br brilliant singer
    * * *
    adj brilliant; fam ( estupendo) fantastic fam, great fam ;
    lo pasamos genial fam we had a fantastic fam o
    a great fam
    time
    * * *
    genial adj
    1) agradable: genial, pleasant
    2) : brilliant
    una obra genial: a work of genius
    3) fam formidable: fantastic, terrific
    * * *
    genial adj brilliant

    Spanish-English dictionary > genial

  • 8 malerisch

    I Adj.
    1. malerische Tätigkeit work as a painter, artistic work; malerisches Talent artistic ( oder painterly) talent, talent as a painter ( oder an artist)
    2. (pittoresk) picturesque
    II Adv.
    1. artistically; mit malerisch geschultem Blick erkannte er... with the trained eye of the painter he recognized...; malerisch gesehen from an artistic point of view, as a painting
    2. (pittoresk) picturesquely; die Kapelle, malerisch in einem Seitental liegend,... the chapel, picturesquely situated ( oder in a picturesque situation) in a side valley,...
    * * *
    picturesque; quaint; romantic; scenic
    * * *
    ma|le|risch ['maːlərɪʃ]
    1. adj
    1) (= bildnerisch) in painting; Talent, Können as a painter

    das málerische Schaffen Leonardos — Leonardo's painting

    seine málerischen Mittel — his technique as a painter

    2) (= pittoresk) picturesque; Landschaft picturesque, scenic
    2. adv
    (= pittoresk) picturesquely
    * * *
    3) ((of places) pretty and interesting: a picturesque village.) picturesque
    * * *
    ma·le·risch
    1. (pittoresk) picturesque
    ein \malerischer Anblick a picturesque view
    \malerisch gelegen sein to be located in a picturesque place
    2. (die Malerei betreffend) artistic
    eine \malerische Interpretation/Sichtweise an artistic interpretation/impression
    ein \malerisches Genie an artistic genius
    * * *
    1.
    1) (pittoresk) picturesque
    2) (zur Malerei gehörend) artistic <skill, talent>; <skill, talent> as a painter
    2.
    adverbial (pittoresk) picturesquely < situated>
    * * *
    A. adj
    1.
    malerische Tätigkeit work as a painter, artistic work;
    malerisches Talent artistic ( oder painterly) talent, talent as a painter ( oder an artist)
    2. (pittoresk) picturesque
    B. adv
    1. artistically;
    mit malerisch geschultem Blick erkannte er … with the trained eye of the painter he recognized …;
    malerisch gesehen from an artistic point of view, as a painting
    2. (pittoresk) picturesquely;
    die Kapelle, malerisch in einem Seitental liegend, … the chapel, picturesquely situated ( oder in a picturesque situation) in a side valley, …
    * * *
    1.
    1) (pittoresk) picturesque
    2) (zur Malerei gehörend) artistic <skill, talent>; <skill, talent> as a painter
    2.
    adverbial (pittoresk) picturesquely < situated>
    * * *
    adj.
    pictorial adj.
    picturesque adj. adv.
    pictorially adv.
    picturesquely adv.

    Deutsch-Englisch Wörterbuch > malerisch

  • 9 malerisch

    ma·le·risch adj
    1) ( pittoresk) picturesque;
    ein \malerischer Anblick a picturesque view;
    \malerisch gelegen sein to be located in a picturesque place
    2) ( die Malerei betreffend) artistic;
    eine \malerische Interpretation/ Sichtweise an artistic interpretation/impression;
    ein \malerisches Genie an artistic genius

    Deutsch-Englisch Wörterbuch für Studenten > malerisch

  • 10 Künstlertum

    n; -s, kein Pl.
    1. artistry
    2. Koll.: das Künstlertum the art world
    * * *
    das Künstlertum
    artistry
    * * *
    Kụ̈nst|ler|tum ['kʏnstlɐtuːm]
    nt -s, no pl
    artistry, artistic genius
    * * *
    Künstlertum n; -s, kein pl
    1. artistry
    2. koll:
    das Künstlertum the art world
    * * *
    n.
    artistry n.
    the artistic world n.

    Deutsch-Englisch Wörterbuch > Künstlertum

  • 11 taiteilijanero

    yks.nom. taiteilijanero; yks.gen. taiteilijaneron; yks.part. taiteilijaneroa; yks.ill. taiteilijaneroon; mon.gen. taiteilijanerojen; mon.part. taiteilijaneroja; mon.ill. taiteilijaneroihin
    artistic genius

    Suomi-Englanti sanakirja > taiteilijanero

  • 12 Leonardo da Vinci

    [br]
    b. 15 April 1452 Vinci, near Florence, Italy,
    d. 2 May 1519 St Cloux, near Amboise, France.
    [br]
    Italian scientist, engineer, inventor and artist.
    [br]
    Leonardo was the illegitimate son of a Florentine lawyer. His first sixteen years were spent with the lawyer's family in the rural surroundings of Vinci, which aroused in him a lifelong love of nature and an insatiable curiosity in it. He received little formal education but extended his knowledge through private reading. That gave him only a smattering of Latin, a deficiency that was to be a hindrance throughout his active life. At sixteen he was apprenticed in the studio of Andrea del Verrochio in Florence, where he received a training not only in art but in a wide variety of crafts and technical arts.
    In 1482 Leonardo went to Milan, where he sought and obtained employment with Ludovico Sforza, later Duke of Milan, partly to sculpt a massive equestrian statue of Ludovico but the work never progressed beyond the full-scale model stage. He did, however, complete the painting which became known as the Virgin of the Rocks and in 1497 his greatest artistic achievement, The Last Supper, commissioned jointly by Ludovico and the friars of Santa Maria della Grazie and painted on the wall of the monastery's refectory. Leonardo was responsible for the court pageants and also devised a system of irrigation to supply water to the plains of Lombardy. In 1499 the French army entered Milan and deposed Leonardo's employer. Leonardo departed and, after a brief visit to Mantua, returned to Florence, where for a time he was employed as architect and engineer to Cesare Borgia, Duke of Romagna. Around 1504 he completed another celebrated work, the Mona Lisa.
    In 1506 Leonardo began his second sojourn in Milan, this time in the service of King Louis XII of France, who appointed him "painter and engineer". In 1513 Leonardo left for Rome in the company of his pupil Francesco Melzi, but his time there was unproductive and he found himself out of touch with the younger artists active there, Michelangelo above all. In 1516 he accepted with relief an invitation from King François I of France to reside at the small château of St Cloux in the royal domain of Amboise. With the pension granted by François, Leonardo lived out his remaining years in tranquility at St Cloux.
    Leonardo's career can hardly be regarded as a success or worthy of such a towering genius. For centuries he was known only for the handful of artistic works that he managed to complete and have survived more or less intact. His main activity remained hidden until the nineteenth and twentieth centuries, during which the contents of his notebooks were gradually revealed. It became evident that Leonardo was one of the greatest scientific investigators and inventors in the history of civilization. Throughout his working life he extended a searching curiosity over an extraordinarily wide range of subjects. The notes show careful investigation of questions of mechanical and civil engineering, such as power transmission by means of pulleys and also a form of chain belting. The notebooks record many devices, such as machines for grinding and polishing lenses, a lathe operated by treadle-crank, a rolling mill with conical rollers and a spinning machine with pinion and yard divider. Leonardo made an exhaustive study of the flight of birds, with a view to designing a flying machine, which obsessed him for many years.
    Leonardo recorded his observations and conclusions, together with many ingenious inventions, on thousands of pages of manuscript notes, sketches and drawings. There are occasional indications that he had in mind the publication of portions of the notes in a coherent form, but he never diverted his energy into putting them in order; instead, he went on making notes. As a result, Leonardo's impact on the development of science and technology was virtually nil. Even if his notebooks had been copied and circulated, there were daunting impediments to their understanding. Leonardo was left-handed and wrote in mirror-writing: that is, in reverse from right to left. He also used his own abbreviations and no punctuation.
    At his death Leonardo bequeathed his entire output of notes to his friend and companion Francesco Melzi, who kept them safe until his own death in 1570. Melzi left the collection in turn to his son Orazio, whose lack of interest in the arts and sciences resulted in a sad period of dispersal which endangered their survival, but in 1636 the bulk of them, in thirteen volumes, were assembled and donated to the Ambrosian Library in Milan. These include a large volume of notes and drawings compiled from the various portions of the notebooks and is now known as the Codex Atlanticus. There they stayed, forgotten and ignored, until 1796, when Napoleon's marauding army overran Italy and art and literary works, including the thirteen volumes of Leonardo's notebooks, were pillaged and taken to Paris. After the war in 1815, the French government agreed to return them but only the Codex Atlanticus found its way back to Milan; the rest remained in Paris. The appendix to one notebook, dealing with the flight of birds, was later regarded as of sufficient importance to stand on its own. Four small collections reached Britain at various times during the seventeenth and eighteenth centuries; of these, the volume in the Royal Collection at Windsor Castle is notable for its magnificent series of anatomical drawings. Other collections include the Codex Leicester and Codex Arundel in the British Museum in London, and the Madrid Codices in Spain.
    Towards the end of the nineteenth century, Leonardo's true stature as scientist, engineer and inventor began to emerge, particularly with the publication of transcriptions and translations of his notebooks. The volumes in Paris appeared in 1881–97 and the Codex Atlanticus was published in Milan between 1894 and 1904.
    [br]
    Principal Honours and Distinctions
    "Premier peintre, architecte et mécanicien du Roi" to King François I of France, 1516.
    Further Reading
    E.MacCurdy, 1939, The Notebooks of Leonardo da Vinci, 2 vols, London; 2nd edn, 1956, London (the most extensive selection of the notes, with an English translation).
    G.Vasari (trans. G.Bull), 1965, Lives of the Artists, London: Penguin, pp. 255–271.
    C.Gibbs-Smith, 1978, The Inventions of Leonardo da Vinci, Oxford: Phaidon. L.H.Heydenreich, Dibner and L. Reti, 1981, Leonardo the Inventor, London: Hutchinson.
    I.B.Hart, 1961, The World of Leonardo da Vinci, London: Macdonald.
    LRD / IMcN

    Biographical history of technology > Leonardo da Vinci

  • 13 rasgo

    m.
    1 trait, characteristic.
    3 flourish, stroke (trazo).
    4 feature, characteristic, features, trait.
    pres.indicat.
    1st person singular (yo) present indicative of spanish verb: rasgar.
    * * *
    1 (línea) stroke; (adorno) flourish
    3 (peculiaridad) characteristic, feature, trait
    4 (acto) act, feat
    \
    explicar a grandes rasgos to outline, give a general outline of
    * * *
    noun m.
    * * *
    SM
    1) (Anat) feature
    2) (=peculiaridad) characteristic, feature
    3) [con pluma] stroke, flourish
    4) (=acto)

    rasgo de generosidad — act of generosity; (=acción noble) noble gesture

    rasgo de ingenio — flash of wit, stroke of genius

    5) LAm (=acequia) irrigation channel; (=terreno) plot, plot of land
    * * *
    1)
    a) ( característica) characteristic, feature
    b) ( gesto) gesture
    c) ( de la pluma) stroke; ( en pintura) brushstroke

    a grandes rasgos — in outline, broadly speaking

    2) rasgos masculino plural ( facciones) features (pl)
    * * *
    = feature, trait, contour, character trait, character.
    Ex. The features which contribute to UDC's suitability for detailed indexing are particularly valued in special libraries.
    Ex. The reasonable reader readily sees that most of these traits should be acquired and fostered early in life.
    Ex. As a result, requesters have turned to the courts to define the contours of public access in the computer age.
    Ex. Personality theory based on genetics is used to trace inherited character traits in European royalty.
    Ex. Close attention to the role of the computer specialist reveals more of the character of reference activities.
    ----
    * a grandes rasgos = broadly, rough draft.
    * correspondencia de rasgos = feature matching.
    * describir a grandes rasgos = paint + a broad picture.
    * rasgo característico = characteristic feature.
    * rasgo estilístico = stylistic feature.
    * * *
    1)
    a) ( característica) characteristic, feature
    b) ( gesto) gesture
    c) ( de la pluma) stroke; ( en pintura) brushstroke

    a grandes rasgos — in outline, broadly speaking

    2) rasgos masculino plural ( facciones) features (pl)
    * * *
    = feature, trait, contour, character trait, character.

    Ex: The features which contribute to UDC's suitability for detailed indexing are particularly valued in special libraries.

    Ex: The reasonable reader readily sees that most of these traits should be acquired and fostered early in life.
    Ex: As a result, requesters have turned to the courts to define the contours of public access in the computer age.
    Ex: Personality theory based on genetics is used to trace inherited character traits in European royalty.
    Ex: Close attention to the role of the computer specialist reveals more of the character of reference activities.
    * a grandes rasgos = broadly, rough draft.
    * correspondencia de rasgos = feature matching.
    * describir a grandes rasgos = paint + a broad picture.
    * rasgo característico = characteristic feature.
    * rasgo estilístico = stylistic feature.

    * * *
    A
    1 (característica) characteristic, feature
    2 (gesto) gesture
    3 (de la pluma) stroke; (en pintura) brushstroke
    a grandes rasgos in outline, broadly speaking
    B rasgos mpl (facciones) features (pl)
    * * *

     

    Del verbo rasgar: ( conjugate rasgar)

    rasgo es:

    1ª persona singular (yo) presente indicativo

    rasgó es:

    3ª persona singular (él/ella/usted) pretérito indicativo

    Multiple Entries:
    rasgar    
    rasgo
    rasgar ( conjugate rasgar) verbo transitivo
    to tear, rip
    rasgarse verbo pronominal
    to tear, rip
    rasgo sustantivo masculino
    1



    ( en pintura) brushstroke;

    2
    ◊ rasgos sustantivo masculino plural ( facciones) features (pl)

    rasgar verbo transitivo
    1 (una tela, un papel) to tear, rip
    2 (una guitarra, etc) to strum
    rasgo sustantivo masculino
    1 (trazo) stroke, (con pincel) brush-stroke: nos explicó su proyecto a grandes rasgos, he gave us a broad outline of his project
    2 (aspecto distintivo) characteristic, feature: la seriedad es uno de los rasgos de su carácter, one of his outstanding characteristics is his seriousness
    3 (gesto) gesture: fue un rasgo de valentía, it was a brave gesture
    4 (del rostro) feature
    (facciones) rasgos, features pl
    ' rasgo' also found in these entries:
    Spanish:
    nota
    - aspecto
    - característica
    - distintivo
    - peculiar
    English:
    characteristic
    - feature
    - rip
    - trait
    - peculiarity
    * * *
    rasgo nm
    1. [característica] trait, characteristic
    2. [del rostro] feature;
    3. [acto elogiable] act
    4. [trazo] flourish, stroke
    5.
    a grandes rasgos [en términos generales] in general o broad terms;
    * * *
    m feature;
    a grandes rasgos broadly speaking
    * * *
    rasgo nm
    1) : stroke (of a pen)
    a grandes rasgos: in broad outlines
    2) característica: trait, characteristic
    3) : gesture, deed
    4) rasgos nmpl
    facciones: features
    * * *
    1. (facción) feature
    2. (peculiaridad) characteristic

    Spanish-English dictionary > rasgo

  • 14 come it over someone

    expr infml esp BrE

    So he developed an artistic temperament at fifteen, stopped working and came it over his people that he was a genius — Итак, в пятнадцать лет у него появились артистические наклонности, затем он бросил работу и начал вешать лапшу на уши своим домашним, что он гений

    She tries to come it over me whenever we meet — Она старается пустить мне пыль в глаза каждый раз, когда мы с ней встречаемся

    The new dictionary of modern spoken language > come it over someone

  • 15 Creativity

       Put in this bald way, these aims sound utopian. How utopian they areor rather, how imminent their realization-depends on how broadly or narrowly we interpret the term "creative." If we are willing to regard all human complex problem solving as creative, then-as we will point out-successful programs for problem solving mechanisms that simulate human problem solvers already exist, and a number of their general characteristics are known. If we reserve the term "creative" for activities like discovery of the special theory of relativity or the composition of Beethoven's Seventh Symphony, then no example of a creative mechanism exists at the present time. (Simon, 1979, pp. 144-145)
       Among the questions that can now be given preliminary answers in computational terms are the following: how can ideas from very different sources be spontaneously thought of together? how can two ideas be merged to produce a new structure, which shows the influence of both ancestor ideas without being a mere "cut-and-paste" combination? how can the mind be "primed," so that one will more easily notice serendipitous ideas? why may someone notice-and remember-something fairly uninteresting, if it occurs in an interesting context? how can a brief phrase conjure up an entire melody from memory? and how can we accept two ideas as similar ("love" and "prove" as rhyming, for instance) in respect of a feature not identical in both? The features of connectionist AI models that suggest answers to these questions are their powers of pattern completion, graceful degradation, sensitization, multiple constraint satisfaction, and "best-fit" equilibration.... Here, the important point is that the unconscious, "insightful," associative aspects of creativity can be explained-in outline, at least-by AI methods. (Boden, 1996, p. 273)
       There thus appears to be an underlying similarity in the process involved in creative innovation and social independence, with common traits and postures required for expression of both behaviors. The difference is one of product-literary, musical, artistic, theoretical products on the one hand, opinions on the other-rather than one of process. In both instances the individual must believe that his perceptions are meaningful and valid and be willing to rely upon his own interpretations. He must trust himself sufficiently that even when persons express opinions counter to his own he can proceed on the basis of his own perceptions and convictions. (Coopersmith, 1967, p. 58)
       he average level of ego strength and emotional stability is noticeably higher among creative geniuses than among the general population, though it is possibly lower than among men of comparable intelligence and education who go into administrative and similar positions. High anxiety and excitability appear common (e.g. Priestley, Darwin, Kepler) but full-blown neurosis is quite rare. (Cattell & Butcher, 1970, p. 315)
       he insight that is supposed to be required for such work as discovery turns out to be synonymous with the familiar process of recognition; and other terms commonly used in the discussion of creative work-such terms as "judgment," "creativity," or even "genius"-appear to be wholly dispensable or to be definable, as insight is, in terms of mundane and well-understood concepts. (Simon, 1989, p. 376)
       From the sketch material still in existence, from the condition of the fragments, and from the autographs themselves we can draw definite conclusions about Mozart's creative process. To invent musical ideas he did not need any stimulation; they came to his mind "ready-made" and in polished form. In contrast to Beethoven, who made numerous attempts at shaping his musical ideas until he found the definitive formulation of a theme, Mozart's first inspiration has the stamp of finality. Any Mozart theme has completeness and unity; as a phenomenon it is a Gestalt. (Herzmann, 1964, p. 28)
       Great artists enlarge the limits of one's perception. Looking at the world through the eyes of Rembrandt or Tolstoy makes one able to perceive aspects of truth about the world which one could not have achieved without their aid. Freud believed that science was adaptive because it facilitated mastery of the external world; but was it not the case that many scientific theories, like works of art, also originated in phantasy? Certainly, reading accounts of scientific discovery by men of the calibre of Einstein compelled me to conclude that phantasy was not merely escapist, but a way of reaching new insights concerning the nature of reality. Scientific hypotheses require proof; works of art do not. Both are concerned with creating order, with making sense out of the world and our experience of it. (Storr, 1993, p. xii)
       The importance of self-esteem for creative expression appears to be almost beyond disproof. Without a high regard for himself the individual who is working in the frontiers of his field cannot trust himself to discriminate between the trivial and the significant. Without trust in his own powers the person seeking improved solutions or alternative theories has no basis for distinguishing the significant and profound innovation from the one that is merely different.... An essential component of the creative process, whether it be analysis, synthesis, or the development of a new perspective or more comprehensive theory, is the conviction that one's judgment in interpreting the events is to be trusted. (Coopersmith, 1967, p. 59)
       In the daily stream of thought these four different stages [preparation; incubation; illumination or inspiration; and verification] constantly overlap each other as we explore different problems. An economist reading a Blue Book, a physiologist watching an experiment, or a business man going through his morning's letters, may at the same time be "incubating" on a problem which he proposed to himself a few days ago, be accumulating knowledge in "preparation" for a second problem, and be "verifying" his conclusions to a third problem. Even in exploring the same problem, the mind may be unconsciously incubating on one aspect of it, while it is consciously employed in preparing for or verifying another aspect. (Wallas, 1926, p. 81)
       he basic, bisociative pattern of the creative synthesis [is] the sudden interlocking of two previously unrelated skills, or matrices of thought. (Koestler, 1964, p. 121)
        11) The Earliest Stages in the Creative Process Involve a Commerce with Disorder
       Even to the creator himself, the earliest effort may seem to involve a commerce with disorder. For the creative order, which is an extension of life, is not an elaboration of the established, but a movement beyond the established, or at least a reorganization of it and often of elements not included in it. The first need is therefore to transcend the old order. Before any new order can be defined, the absolute power of the established, the hold upon us of what we know and are, must be broken. New life comes always from outside our world, as we commonly conceive that world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." (Ghiselin, 1985, p. 4)
       New life comes always from outside our world, as we commonly conceive our world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." Chaos and disorder are perhaps the wrong terms for that indeterminate fullness and activity of the inner life. For it is organic, dynamic, full of tension and tendency. What is absent from it, except in the decisive act of creation, is determination, fixity, and commitment to one resolution or another of the whole complex of its tensions. (Ghiselin, 1952, p. 13)
       [P]sychoanalysts have principally been concerned with the content of creative products, and with explaining content in terms of the artist's infantile past. They have paid less attention to examining why the artist chooses his particular activity to express, abreact or sublimate his emotions. In short, they have not made much distinction between art and neurosis; and, since the former is one of the blessings of mankind, whereas the latter is one of the curses, it seems a pity that they should not be better differentiated....
       Psychoanalysis, being fundamentally concerned with drive and motive, might have been expected to throw more light upon what impels the creative person that in fact it has. (Storr, 1993, pp. xvii, 3)
       A number of theoretical approaches were considered. Associative theory, as developed by Mednick (1962), gained some empirical support from the apparent validity of the Remote Associates Test, which was constructed on the basis of the theory.... Koestler's (1964) bisociative theory allows more complexity to mental organization than Mednick's associative theory, and postulates "associative contexts" or "frames of reference." He proposed that normal, non-creative, thought proceeds within particular contexts or frames and that the creative act involves linking together previously unconnected frames.... Simonton (1988) has developed associative notions further and explored the mathematical consequences of chance permutation of ideas....
       Like Koestler, Gruber (1980; Gruber and Davis, 1988) has based his analysis on case studies. He has focused especially on Darwin's development of the theory of evolution. Using piagetian notions, such as assimilation and accommodation, Gruber shows how Darwin's system of ideas changed very slowly over a period of many years. "Moments of insight," in Gruber's analysis, were the culminations of slow long-term processes.... Finally, the information-processing approach, as represented by Simon (1966) and Langley et al. (1987), was considered.... [Simon] points out the importance of good problem representations, both to ensure search is in an appropriate problem space and to aid in developing heuristic evaluations of possible research directions.... The work of Langley et al. (1987) demonstrates how such search processes, realized in computer programs, can indeed discover many basic laws of science from tables of raw data.... Boden (1990a, 1994) has stressed the importance of restructuring the problem space in creative work to develop new genres and paradigms in the arts and sciences. (Gilhooly, 1996, pp. 243-244; emphasis in original)

    Historical dictionary of quotations in cognitive science > Creativity

См. также в других словарях:

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