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best-fit+analysis

  • 1 best-fit analysis

    English-Russian big polytechnic dictionary > best-fit analysis

  • 2 best-fit analysis

    Универсальный англо-русский словарь > best-fit analysis

  • 3 best-fit analysis

    Англо-русский словарь по машиностроению > best-fit analysis

  • 4 best-fit analysis

    English-Russian dictionary of mechanical engineering and automation > best-fit analysis

  • 5 analysis

    1) анализ; исследование
    •
    - analysis of behavior
    - analysis of queues
    - analysis of variance
    - approximate analysis
    - approximation analysis
    - aspectological analysis
    - automated analysis
    - automated data analysis
    - automatic document analysis
    - best-fit analysis
    - bottom-up analysis
    - buckling analysis
    - check analysis
    - citation analysis
    - cluster analysis
    - comparative economic analysis
    - compound flow analysis
    - computer simulation analysis
    - computer-aided design and analysis
    - content analysis
    - continuous analysis
    - cost-effectiveness analysis
    - deformation analysis
    - design analysis
    - diagnostic analysis
    - dimensional analysis
    - document analysis and synthesis
    - dynamic analysis
    - economic analysis
    - end-point analysis
    - error analysis
    - facet analysis
    - factory flow analysis
    - failure cause analysis
    - failure tree analysis
    - fault analysis
    - FEM analysis
    - finite element analysis
    - frequency analysis
    - frequency domain analysis
    - frequency-response analysis
    - full grey scale analysis
    - functional analysis
    - grain size analysis
    - grammatical analysis
    - graphical analysis
    - group analysis
    - harmonic analysis
    - incident sequence analysis
    - information analysis
    - integrated analysis
    - kinematic analysis
    - lexical analysis
    - line analysis
    - management analysis
    - mean-value analysis
    - metal surface alloy compositional analysis
    - microprobe analysis
    - model analysis
    - morphological analysis
    - multiple regression analysis
    - network analysis
    - numerical analysis
    - on-board analysis
    - operation analysis
    - performance analysis
    - predictive analysis
    - production flow analysis
    - quantitative analysis
    - regression analysis
    - reliability analysis
    - sampling analysis
    - semantic analysis
    - semantic-syntactic analysis
    - sensitivity analysis
    - signature analysis
    - simulation analysis
    - spectral analysis
    - speech analysis
    - stability analysis
    - statistical analysis
    - strain analysis
    - strength analysis
    - stress analysis
    - structural analysis
    - structure analysis
    - structured analysis
    - subject analysis
    - subpixel level full grey scale analysis
    - syntactic analysis
    - system analysis
    - time domain analysis
    - time-and-frequency analysis
    - time-series analysis
    - tooth contact analysis
    - transient analysis
    - trend analysis
    - tridimensional analysis
    - variation simulation analysis
    - vectorial analysis
    - vibration analysis
    - what if analysis
    - X-ray structural analysis

    English-Russian dictionary of mechanical engineering and automation > analysis

  • 6 regression analysis

    Stats
    a forecasting technique used to establish the relationship between quantifiable variables. In regression analysis, data on dependent and independent variables is plotted on a scatter graph or diagram and trends are indicated through a line of best fit. The use of a single independent variable is known as simple regression analysis, while the use of two or more independent variables is called multiple regression analysis.

    The ultimate business dictionary > regression analysis

  • 7 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

  • 8 place

    A n
    1 (location, position) endroit m ; to move from place to place se déplacer d'un endroit à l'autre ; I hope this is the right place j'espère que c'est le bon endroit ; we've come to the wrong place nous nous sommes trompés d'endroit ; the best place to buy sth le meilleur endroit pour acheter qch ; same time, same place même heure, même endroit ; in many places dans de nombreux endroits ; in places [hilly, damaged, worn] par endroits ; her leg had been stung in several places elle avait été piquée à la jambe à plusieurs endroits ; a place for un endroit pour [meeting, party, monument, office] ; a place to do un endroit pour faire ; a safe place to hide un endroit sûr pour se cacher ; a good place to plant roses un bon endroit pour planter des roses ; a place where un endroit où ; it's no place for a child! ce n'est pas un endroit pour un enfant! ; the perfect place for a writer l'endroit or le lieu idéal pour un écrivain ; this is the place for me! c'est le rêve ici! ; if you need peace and quiet, then this is not the place! si tu veux être tranquille, alors ce n'est pas l'endroit rêvé! ; to be in the right place at the right time être là où il faut quand il le faut ; to be in two places at once être au four et au moulin, être partout à la fois ; not here, of all places! surtout pas ici! ; in Oxford, of all places! à Oxford, figure-toi! ;
    2 (town, hotel etc) endroit m ; a nice/strange place to live un endroit agréable/bizarre pour vivre ; a good place to eat une bonne adresse (pour manger) ; we stayed at a place on the coast nous étions sur la côte ; a little place called… un petit village du nom de… ; in a place like Kent/Austria dans une région comme le Kent/un pays comme l'Autriche ; this place is filthy! cet endroit est dégoûtant! ; he threatened to burn the place down ○ il a menacé d'y mettre le feu ; to be seen in all the right places se montrer dans les lieux qui comptent ; all over the place ( everywhere) partout ; fig ○ [speech, lecture] complètement décousu ; your hair is all over the place ○ ! tu es complètement décoiffé! ;
    3 ( for specific purpose) place of birth/work/pilgrimage lieu m de naissance/travail/pèlerinage ; place of residence domicile m ; place of refuge refuge m ;
    4 ( home) ( house) maison f ; ( apartment) appartement m ; David's place chez David ; a place by the sea une maison au bord de la mer ; a place of one's own un endroit à soi ; your place or mine? chez toi ou chez moi? ;
    5 (seat, space) (on bus, at table, in queue) place f ; ( setting) couvert m ; to keep a place garder une place (for pour) ; to find/lose one's place trouver/perdre sa place ; to show sb to his/her place conduire qn à sa place ; please take your places veuillez prendre place ; I couldn't find a place to park je n'ai pas trouvé de place pour me garer ; to lay ou set a place for sb mettre un couvert pour qn ; is this place taken? cette place est-elle prise? ;
    6 (on team, with firm) place f (on dans) ; (on committee, board) siège m (on au sein de) ; a place as une place comme [au pair, cook, cleaner] ;
    7 GB Univ place f (at à) ; to get a place on obtenir une place dans [course] ; she got a place on the fashion design course elle a obtenu une place en cours de stylisme ; she has a place on a carpentry course elle a été acceptée pour suivre des cours de menuiserie ;
    8 lit (in competition, race) place f ; to finish in first place terminer premier/-ière or à la première place ; he backed Red Rum for a place Turf il a joué Red Rum placé ; to take second place fig ( in importance) passer au deuxième plan ; to take second place to sth passer après qch ; to relegate sth to second place faire passer qch en second ;
    9 (in argument, analysis) in the first place ( firstly) en premier lieu ; ( at the outset) pour commencer ; how much money did we have in the first place? combien d'argent avions-nous pour commencer? ;
    10 ( correct position) to put sth in place mettre qch en place [fencing, construction] ; to push sth back into place remettre qch en place ; to return sth to its place remettre qch à sa place ; everything is in its place tout est bien à sa place ; to hold sth in place maintenir qch en place ; when the lever is in place quand le levier est engagé ; is the lid in place? est-ce que le couvercle est mis? ; in place [law, system, scheme] en place ; to put sth in place mettre qch en place [scheme, system, regime] ;
    11 ( rank) sb's/sth's place in la place de qn/qch dans [world, society, history, politics] ; to take one's place in society prendre sa place dans la société ; to put sb in his/her place remettre qn à sa place ; to know one's place rester à sa place ;
    12 ( role) it's not my place to do ce n'est pas à moi de faire ; to fill sb's place remplacer qn ; to take sb's place, take the place of sb prendre la place de qn ; to have no place in n'avoir aucune place dans [organization, philosophy, creed] ; there is a place for someone like her in this company il y a une place pour une femme comme elle dans cette entreprise ; there are places for people like you ○ ! fig péj ça se soigne ○ ! ;
    13 ( situation) in my/his place à ma/sa place ; in your place, I'd have done the same à ta place, j'aurais fait la même chose ; to change ou trade places with sb changer de place avec qn ;
    14 ( moment) moment m ; in places [funny, boring, silly] par moments ; this is not the place to do ce n'est pas le moment de faire ; this is a good place to begin c'est un bon moment pour commencer ; there were places in the film where… il y avait des moments dans le film où… ;
    15 ( in book) (in paragraph, speech) to mark one's place marquer sa page ; to lose/find one's place ( in book) perdre/retrouver sa page ; (in paragraph, speech) perdre/retrouver le fil ;
    16 ○ US ( unspecified location) some place quelque part ; no place nulle part ; he had no place to go il n'avait nulle part où aller ; he always wants to go places with us il veut toujours venir avec nous ; she goes places on her bicycle elle se déplace à bicyclette.
    B out of place adj phr [remark, behaviour] déplacé ; [language, tone] inapproprié ; to look out of place [building, person] détonner ; to feel out of place ne pas se sentir à l'aise.
    C in place of prep phr à la place de [person, object] ; X is playing in place of Y X remplace Y ; he spoke in my place il a parlé à ma place.
    D vtr
    1 lit ( put carefully) placer ; ( arrange) disposer ; place the cucumber slices around the edge of the plate disposez les rondelles de concombre autour de l'assiette ; she placed the vase in the middle of the table elle a placé le vase au milieu de la table ; place the smaller bowl inside the larger one mets le petit bol dans le grand ; to place sth back on remettre qch sur [shelf, table] ; to place sth in the correct order mettre qch dans le bon ordre ;
    2 ( locate) placer ; to be strategically/awkwardly placed être bien/mal placé ; the switch had been placed too high l'interrupteur avait été placé trop haut ;
    3 ( using service) to place an advertisement in the paper mettre une annonce dans le journal ; to place an order for sth passer une commande pour qch ; to place a bet parier, faire un pari (on sur) ;
    4 fig ( put) to place emphasis on sth mettre l'accent sur qch ; to place one's trust in sb/sth placer sa confiance en qn/qch ; to place sb in a difficult situation/in a dilemma mettre qn dans une situation difficile/devant un dilemme ; to place sb at risk faire courir des risques à qn ; to place the blame on sb rejeter toute la faute sur qn ; two propositions were placed before those present deux propositions ont été soumises aux personnes présentes ;
    5 ( rank) ( in competition) classer ; ( in exam) GB classer ; to be placed third [horse, athlete] arriver troisième ;
    6 ( judge) juger ; to be placed among the top scientists of one's generation être jugé comme un des plus grands scientifiques de sa génération ; where would you place him in relation to his colleagues? comment le jugeriez-vous par rapport à ses collègues? ;
    7 ( identify) situer [person] ; reconnaître [accent] ; I can't place his face je ne le reconnais pas ;
    8 ( find home for) placer [child] ;
    9 Admin (send, appoint) placer [student, trainee] (in dans) ; to place sb in charge of staff/a project confier la direction du personnel/d'un projet à qn ; to be placed in quarantine être placé en quarantaine.
    1 gen ( situated) to be well placed être bien placé (to do pour faire) ; he is not well placed to judge il est mal placé pour juger ; she is well/better placed to speak on this subject elle est bien/mieux placée pour parler de ce sujet ;
    2 Sport, Turf to be placed [horse] GB être placé ; US terminer en deuxième position.
    that young man is really going places ○ voilà un jeune homme qui ira loin ; to have friends in high places avoir des amis haut placés ; corruption in high places la corruption en haut lieu ; to fall ou click ou fit into place devenir clair ; ⇒ take place (take).

    Big English-French dictionary > place

  • 9 Philosophy

       And what I believe to be more important here is that I find in myself an infinity of ideas of certain things which cannot be assumed to be pure nothingness, even though they may have perhaps no existence outside of my thought. These things are not figments of my imagination, even though it is within my power to think of them or not to think of them; on the contrary, they have their own true and immutable natures. Thus, for example, when I imagine a triangle, even though there may perhaps be no such figure anywhere in the world outside of my thought, nor ever have been, nevertheless the figure cannot help having a certain determinate nature... or essence, which is immutable and eternal, which I have not invented and which does not in any way depend upon my mind. (Descartes, 1951, p. 61)
       Let us console ourselves for not knowing the possible connections between a spider and the rings of Saturn, and continue to examine what is within our reach. (Voltaire, 1961, p. 144)
       As modern physics started with the Newtonian revolution, so modern philosophy starts with what one might call the Cartesian Catastrophe. The catastrophe consisted in the splitting up of the world into the realms of matter and mind, and the identification of "mind" with conscious thinking. The result of this identification was the shallow rationalism of l'esprit Cartesien, and an impoverishment of psychology which it took three centuries to remedy even in part. (Koestler, 1964, p. 148)
       It has been made of late a reproach against natural philosophy that it has struck out on a path of its own, and has separated itself more and more widely from the other sciences which are united by common philological and historical studies. The opposition has, in fact, been long apparent, and seems to me to have grown up mainly under the influence of the Hegelian philosophy, or, at any rate, to have been brought out into more distinct relief by that philosophy.... The sole object of Kant's "Critical Philosophy" was to test the sources and the authority of our knowledge, and to fix a definite scope and standard for the researches of philosophy, as compared with other sciences.... [But Hegel's] "Philosophy of Identity" was bolder. It started with the hypothesis that not only spiritual phenomena, but even the actual world-nature, that is, and man-were the result of an act of thought on the part of a creative mind, similar, it was supposed, in kind to the human mind.... The philosophers accused the scientific men of narrowness; the scientific men retorted that the philosophers were crazy. And so it came about that men of science began to lay some stress on the banishment of all philosophic influences from their work; while some of them, including men of the greatest acuteness, went so far as to condemn philosophy altogether, not merely as useless, but as mischievous dreaming. Thus, it must be confessed, not only were the illegitimate pretensions of the Hegelian system to subordinate to itself all other studies rejected, but no regard was paid to the rightful claims of philosophy, that is, the criticism of the sources of cognition, and the definition of the functions of the intellect. (Helmholz, quoted in Dampier, 1966, pp. 291-292)
       Philosophy remains true to its classical tradition by renouncing it. (Habermas, 1972, p. 317)
       I have not attempted... to put forward any grand view of the nature of philosophy; nor do I have any such grand view to put forth if I would. It will be obvious that I do not agree with those who see philosophy as the history of "howlers" and progress in philosophy as the debunking of howlers. It will also be obvious that I do not agree with those who see philosophy as the enterprise of putting forward a priori truths about the world.... I see philosophy as a field which has certain central questions, for example, the relation between thought and reality.... It seems obvious that in dealing with these questions philosophers have formulated rival research programs, that they have put forward general hypotheses, and that philosophers within each major research program have modified their hypotheses by trial and error, even if they sometimes refuse to admit that that is what they are doing. To that extent philosophy is a "science." To argue about whether philosophy is a science in any more serious sense seems to me to be hardly a useful occupation.... It does not seem to me important to decide whether science is philosophy or philosophy is science as long as one has a conception of both that makes both essential to a responsible view of the world and of man's place in it. (Putnam, 1975, p. xvii)
       What can philosophy contribute to solving the problem of the relation [of] mind to body? Twenty years ago, many English-speaking philosophers would have answered: "Nothing beyond an analysis of the various mental concepts." If we seek knowledge of things, they thought, it is to science that we must turn. Philosophy can only cast light upon our concepts of those things.
       This retreat from things to concepts was not undertaken lightly. Ever since the seventeenth century, the great intellectual fact of our culture has been the incredible expansion of knowledge both in the natural and in the rational sciences (mathematics, logic).
       The success of science created a crisis in philosophy. What was there for philosophy to do? Hume had already perceived the problem in some degree, and so surely did Kant, but it was not until the twentieth century, with the Vienna Circle and with Wittgenstein, that the difficulty began to weigh heavily. Wittgenstein took the view that philosophy could do no more than strive to undo the intellectual knots it itself had tied, so achieving intellectual release, and even a certain illumination, but no knowledge. A little later, and more optimistically, Ryle saw a positive, if reduced role, for philosophy in mapping the "logical geography" of our concepts: how they stood to each other and how they were to be analyzed....
       Since that time, however, philosophers in the "analytic" tradition have swung back from Wittgensteinian and even Rylean pessimism to a more traditional conception of the proper role and tasks of philosophy. Many analytic philosophers now would accept the view that the central task of philosophy is to give an account, or at least play a part in giving an account, of the most general nature of things and of man. (Armstrong, 1990, pp. 37-38)
       8) Philosophy's Evolving Engagement with Artificial Intelligence and Cognitive Science
       In the beginning, the nature of philosophy's engagement with artificial intelligence and cognitive science was clear enough. The new sciences of the mind were to provide the long-awaited vindication of the most potent dreams of naturalism and materialism. Mind would at last be located firmly within the natural order. We would see in detail how the most perplexing features of the mental realm could be supported by the operations of solely physical laws upon solely physical stuff. Mental causation (the power of, e.g., a belief to cause an action) would emerge as just another species of physical causation. Reasoning would be understood as a kind of automated theorem proving. And the key to both was to be the depiction of the brain as the implementation of multiple higher level programs whose task was to manipulate and transform symbols or representations: inner items with one foot in the physical (they were realized as brain states) and one in the mental (they were bearers of contents, and their physical gymnastics were cleverly designed to respect semantic relationships such as truth preservation). (A. Clark, 1996, p. 1)
       Socrates of Athens famously declared that "the unexamined life is not worth living," and his motto aptly explains the impulse to philosophize. Taking nothing for granted, philosophy probes and questions the fundamental presuppositions of every area of human inquiry.... [P]art of the job of the philosopher is to keep at a certain critical distance from current doctrines, whether in the sciences or the arts, and to examine instead how the various elements in our world-view clash, or fit together. Some philosophers have tried to incorporate the results of these inquiries into a grand synoptic view of the nature of reality and our human relationship to it. Others have mistrusted system-building, and seen their primary role as one of clarifications, or the removal of obstacles along the road to truth. But all have shared the Socratic vision of using the human intellect to challenge comfortable preconceptions, insisting that every aspect of human theory and practice be subjected to continuing critical scrutiny....
       Philosophy is, of course, part of a continuing tradition, and there is much to be gained from seeing how that tradition originated and developed. But the principal object of studying the materials in this book is not to pay homage to past genius, but to enrich one's understanding of central problems that are as pressing today as they have always been-problems about knowledge, truth and reality, the nature of the mind, the basis of right action, and the best way to live. These questions help to mark out the territory of philosophy as an academic discipline, but in a wider sense they define the human predicament itself; they will surely continue to be with us for as long as humanity endures. (Cottingham, 1996, pp. xxi-xxii)
       In his study of ancient Greek culture, The Birth of Tragedy, Nietzsche drew what would become a famous distinction, between the Dionysian spirit, the untamed spirit of art and creativity, and the Apollonian, that of reason and self-control. The story of Greek civilization, and all civilizations, Nietzsche implied, was the gradual victory of Apollonian man, with his desire for control over nature and himself, over Dionysian man, who survives only in myth, poetry, music, and drama. Socrates and Plato had attacked the illusions of art as unreal, and had overturned the delicate cultural balance by valuing only man's critical, rational, and controlling consciousness while denigrating his vital life instincts as irrational and base. The result of this division is "Alexandrian man," the civilized and accomplished Greek citizen of the later ancient world, who is "equipped with the greatest forces of knowledge" but in whom the wellsprings of creativity have dried up. (Herman, 1997, pp. 95-96)

    Historical dictionary of quotations in cognitive science > Philosophy

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