component instances

   1) All Human Complex Problem Solving Is 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)

   2) Artificial Intelligence Models of Creative Association

   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)

   3) Creative Innovation and Social Independence

   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)

   4) Ego Strength and Emotional Stability among Creative Geniuses

   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)

   5) Its Mundane Character

   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)

   6) Mozart's Musical Ideas Came to Him in Polished Form

   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)

   7) Scientific Theories and Works of Art Alike Originate in Fantasy

   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)

   8) Self- Esteem and Creative Expression

   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)

   9) Stages in Creative Problem- Solving

   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)

    10) The Bisociative Pattern of the Creative Synthesis

   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)

    12) The Inner Life of the Creative Process

   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)

    13) The Problem of What Impels the Creative Person

   [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)

    14) Theories of Creative Thinking

   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)

 

входное полное сопротивление
-
[IEV number 312-06-18]

EN

input impedance
impedance of the input circuit measured between the input terminals under operating conditions
NOTE 1 – The impedance can be expressed in terms of admittance.
NOTE 2 – In certain instances, for example, sampling devices or self-balancing potentiometers, the impedance can be different according to the instant when it is determined, before, during or after the instant of measurement.
NOTE 3 – When the input circuit is such that the instantaneous value of the current flowing into the input terminals is a non-linear function of the instantaneous value of the input voltage under specified conditions of frequency and voltage, the combination of resistance and reactance which would absorb the same active power and in which would flow a reactive current equal to the fundamental component that is flowing in the actual input circuit, is sometimes called the "equivalent input impedance".
[IEV number 312-06-18]

FR

impédance du circuit d'entrée
impédance du circuit d'entrée entre les bornes d'entrée dans les conditions de fonctionnement
NOTE 1 – L'impédance peut être exprimée en termes d'admittance.
NOTE 2 – Dans certains cas, par exemple les dispositifs d'échantillonnage ou les potentiomètres à rééquilibrage automatique, l'impédance peut être différente selon l’instant où elle est déterminée, avant, pendant ou après la mesure.
NOTE 3 – Lorsque le circuit d'entrée est tel que la valeur instantanée du courant traversant les bornes d'entrée est une fonction non linéaire de la valeur instantanée de la tension d'entrée dans des conditions spécifiées de fréquence et de tension, l'impédance d'une combinaison formée par une résistance et une réactance qui absorberaient la même puissance active et dans laquelle circulerait un courant réactif égal à la composante fondamentale qui circule dans le circuit d'entrée réel, est parfois appelée "impédance équivalente d'entrée".
[IEV number 312-06-18]

Тематики

• измерение электр. величин в целом

EN

• input impedance

DE

• Eingangsimpedanz

FR

• impédance du circuit d'entrée

 

входное полное сопротивление пьезоэлектрического (электромеханического) фильтра (Z_вх, Z_in)
Комплексное сопротивление, которое представляет собой пьезоэлектрический (электромеханический) фильтр для входного нагрузочного полного сопротивления, когда фильтр нагружен на выходное нагрузочное полное сопротивление.
[ ГОСТ 18670-84]

Тематики

• электрические фильтры

EN

• input impedance

FR

• impédance d’entrée

 

входной импеданс (электрической схемы)
—
[ http://slovarionline.ru/anglo_russkiy_slovar_neftegazovoy_promyishlennosti/]

Тематики

• нефтегазовая промышленность

EN

• input impedance

 

полное сопротивление входного электрода
—
[Я.Н.Лугинский, М.С.Фези-Жилинская, Ю.С.Кабиров. Англо-русский словарь по электротехнике и электроэнергетике, Москва, 1999 г.]

Тематики

• электротехника, основные понятия

EN

• input impedance

 

полное сопротивление токовых контактов (датчика Холла)
—
[Я.Н.Лугинский, М.С.Фези-Жилинская, Ю.С.Кабиров. Англо-русский словарь по электротехнике и электроэнергетике, Москва, 1999 г.]

Тематики

• электротехника, основные понятия

EN

• input impedance

3.9 входное сопротивление (input impedance): Комплексная величина, равная отношению амплитуды напряжения к амплитуде тока на входе цепи кабеля при гармоническом режиме.

Источник: ГОСТ Р 53880-2010: Кабели коаксиальные для сетей кабельного телевидения. Общие технические условия оригинал документа

3.22 входное сопротивление (input impedance); Z_вх: Комплексная величина, равная отношению амплитуды напряжения к амплитуде тока на входе пары кабеля.

Источник: ГОСТ Р 54429-2011: Кабели связи симметричные для цифровых систем передачи. Общие технические условия оригинал документа

 

выходное полное сопротивление
-
[IEV number 312-06-19]

EN

output impedance
impedance of the output circuit measured between the output terminals under operating conditions
NOTE 1 – The impedance can be expressed in terms of admittance.
NOTE 2 – In certain instances, for example, sampling devices or self-balancing potentiometers, the impedance can be different according to the instant when it is determined, before, during or after the instant of measurement.
NOTE 3 – When the output circuit is such that the instantaneous value of the current flowing into the output terminals is a non-linear function of the instantaneous value of the output voltage under specified conditions of frequency and voltage, the combination of resistance and reactance which would absorb the same active power and in which would flow a reactive current equal to the fundamental component that is flowing in the actual output circuit, is sometimes called the "equivalent output impedance".
[IEV number 312-06-19]

FR

impédance du circuit de sortie
impédance du circuit de sortie entre les bornes de sortie dans les conditions de fonctionnement
NOTE 1 – L'impédance peut être exprimée en termes d'admittance.
NOTE 2 – Dans certains cas, par exemple les dispositifs d'échantillonnage ou les potentiomètres à rééquilibrage automatique, l'impédance peut être différente selon l’instant où elle est déterminée, avant, pendant ou après la mesure.
NOTE 3 – Lorsque le circuit de sortie est tel que la valeur instantanée du courant traversant les bornes de sortie est une fonction non linéaire de la valeur instantanée de la tension de sortie dans des conditions spécifiées de fréquence et de tension, l'impédance d'une combinaison formée par une résistance et une réactance qui absorberaient la même puissance active et dans laquelle circulerait un courant réactif égal à la composante fondamentale qui circule dans le circuit de sortie réel, est parfois appelée "impédance équivalente de sortie".
[IEV number 312-06-19]

Тематики

• измерение электр. величин в целом

EN

• output impedance

DE

• Ausgangsimpedanz

FR

• impédance du circuit de sortie

 

выходное полное сопротивление пьезоэлектрического (электромеханического) фильтра (Z_вых, Z_out)
Комплексное сопротивление, которое представляет собой пьезоэлектрический (электромеханический) фильтр нагрузочного полного для выходного сопротивления, когда он подключен к входному нагрузочному полному сопротивлению.
[ ГОСТ 18670-84]

Тематики

• электрические фильтры

EN

• output impedance

FR

• impédance de sortie

 

полное сопротивление выходного электрода
—
[Я.Н.Лугинский, М.С.Фези-Жилинская, Ю.С.Кабиров. Англо-русский словарь по электротехнике и электроэнергетике, Москва, 1999 г.]

Тематики

• электротехника, основные понятия

EN

• output impedance