developing a pattern

1) Railway term: developing a pattern

2) Economy: advanced development

   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)

² = logistics, map, mapping, organisational setting, organising [organizing, -USA], setup [set-up], organisation [organization, -USA], work organisation, staging, set-up, structuring, implementation.

Ex. Donald P Hammer, Executive Secretary of LITA, and Dorothy Butler, the Division's Administrative Secretary, handled all of the administrative details, arrangements, and logistics.

Ex. A detailed study of a co-citation map, its core documents' citation patterns and the related journal structures, is presented.

Ex. Recently, proponents of co-citation cluster analysis have claimed that in principle their methodology makes possible the mapping of science using the data in the Science Citation Index.

Ex. Many students, after working with cases, have testified to the help they received in developing a clearer concept of the dynamics of human relationships in organizational settings.

Ex. No course on management would be complete without articulating the principles of management (i.e., planning, organizing, staffing, directing, controlling).

Ex. 'You know,' she had said amiably, 'there might be a better job for you here once things get rolling with this new regional setup'.

Ex. This article discusses the history of the organisation of readers' camps for students of secondary schools in Slovakia which dates back to 1979.

Ex. Quality of Work Life (QWL) can be defined as 'the degree to which members of a work organisation are able to satisfy important personal needs through their experiences in the organisation'.

Ex. The author describes the success of a library in staging a series of music concerts as a public relations exercise.

Ex. Areas of particular concern are: equipment set-up and use; helping develop search strategies, logon/logoff procedures; and emergency assistance when things go wrong.

Ex. There are also suggestions for rules for structuring corporate body names.

Ex. This software is important to the further implementation of the record format, especially in developing countries.

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* conocimientos básicos de búsqueda, recuperación y organización de la informa = information literacy.

* desorganización = disorganisation [disorganization, -USA].

* metaorganización = meta-organisation.

* modelo de organización = organisational scheme.

* organización bibliográfica = bibliographic organisation.

* organización bibliotecaria = library organisation.

* organización del trabajo = workflow [work flow], working arrangement.

* organización de materias = subject organisation.

* organización horizontal = flat organisation, horizontal organisation.

* organización interna = organisational structure.

* organización laboral = job structuring.

* reorganización = respacing.

* una organización de = a pattern of.

1 organization, hierarchy, array, structure.

2 institution, entity, organism, foundation.

3 organizing.

* * *

► nombre femenino

1 organization

* * *

* * *

SF organization

* * *

femenino organization

* * *

femenino organization

* * *

organización¹

¹ = establishment, organisation [organization, -USA], institution.

organización²

² = logistics, map, mapping, organisational setting, organising [organizing, -USA], setup [set-up], organisation [organization, -USA], work organisation, staging, set-up, structuring, implementation.

* * *

1 (acción) organization

2 (agrupación, institución) organization

una organización ecologista an ecological organization

una organización sindical a labor ( AmE) o ( BrE) trade union

organización de bienestar social welfare organization

Organization for Economic Cooperation and Development

World Intellectual Property Organization

World Trade Organization

* * *

* * *

organización nf

1. [orden] organization

2. [organismo] organization;

las organizaciones sindicales the trade o US labor unions

organización benéfica charity, charitable organization;

organización de consumidores consumer organization;

Organización para la Cooperación y el Desarrollo Económico Organization for Economic Cooperation and Development;

Organización de Estados Americanos Organization of American States;

Organización Internacional de Normalización International Standards Organization;

Organización Internacional del Trabajo International Labour Organization;

Organización para la Liberación de Palestina Palestine Liberation Organization;

Organización Mundial del Comercio World Trade Organization;

Organización Mundial de la Salud World Health Organization;

Organización de las Naciones Unidas United Nations Organization;

organización no gubernamental non-governmental organization;

Organización de Países Exportadores de Petróleo Organization of Petroleum Exporting Countries;

Organización para la Seguridad y Cooperación en Europa Organization for Security and Cooperation in Europe;

Organización para la Unidad Africana Organization of African Unity;

Organización del Tratado del Atlántico Norte North Atlantic Treaty Organization

* * *

f organization

* * *

organización nf, pl - ciones : organization

* * *

organización n organization

SUBJECT AREA: Architecture and building

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The name of Le Corbusier is synonymous with the International style of modern architecture and city planning, one utilizing functionalist designs carried out in twentieth-century materials with modern methods of construction. Charles-Edouard Jeanneret, born in the watch-making town of La Chaux-de-Fonds in the Jura mountain region, was the son of a watch engraver and dial painter. In the years before 1918 he travelled widely, studying building in many countries. He learned about the use of reinforced concrete in the studio of Auguste Perret and about industrial construction under Peter Behrens. In 1917 he went to live in Paris and spent the rest of his life in France; in 1920 he adopted the name of Le Corbusier, one derived from that of his ancestors (Le Corbesier), and ten years later became a French citizen.

Le Corbusier's long working life spanned a career divided into three distinct parts. Between 1905 and 1916 he designed a number of simple and increasingly modern houses; the years 1921 to 1940 were ones of research and debate; and the twenty years from 1945 saw the blossoming of his genius. After 1917 Le Corbusier gained a reputation in Paris as an architect of advanced originality. He was particularly interested in low-cost housing and in improving accommodation for the poor. In 1923 he published Vers une architecture, in which he planned estates of mass-produced houses where all extraneous and unnecessary features were stripped away and the houses had flat roofs and plain walls: his concept of "a machine for living in". These white boxes were lifted up on stilts, his pilotis, and double-height living space was provided internally, enclosed by large areas of factory glazing. In 1922 Le Corbusier exhibited a city plan, La Ville contemporaine, in which tall blocks made from steel and concrete were set amongst large areas of parkland, replacing the older concept of city slums with the light and air of modern living. In 1925 he published Urbanisme, further developing his socialist ideals. These constituted a major reform of the industrial-city pattern, but the ideas were not taken up at that time. The Depression years of the 1930s severely curtailed architectural activity in France. Le Corbusier designed houses for the wealthy there, but most of his work prior to 1945 was overseas: his Centrosoyus Administration Building in Moscow (1929–36) and the Ministry of Education Building in Rio de Janeiro (1943) are examples. Immediately after the end of the Second World War Le Corbusier won international fame for his Unité d'habitation theme, the first example of which was built in the boulevard Michelet in Marseille in 1947–52. His answer to the problem of accommodating large numbers of people in a small space at low cost was to construct an immense all-purpose block of pre-cast concrete slabs carried on a row of massive central supports. The Marseille Unité contains 350 apartments in eight double storeys, with a storey for shops half-way up and communal facilities on the roof. In 1950 he published Le Modular, which described a system of measurement based upon the human male figure. From this was derived a relationship of human and mathematical proportions; this concept, together with the extensive use of various forms of concrete, was fundamental to Le Corbusier's later work. In the world-famous and highly personal Pilgrimage Church of Notre Dame du Haut at Ronchamp (1950–5), Le Corbusier's work was in Expressionist form, a plastic design in massive rough-cast concrete, its interior brilliantly designed and lit. His other equally famous, though less popular, ecclesiastical commission showed a contrasting theme, of "brutalist" concrete construction with uncompromisingly stark, rectangular forms. This is the Dominican Convent of Sainte Marie de la Tourette at Eveux-sur-l'Arbresle near Lyon, begun in 1956. The interior, in particular, is carefully worked out, and the lighting, from both natural and artificial sources, is indirect, angled in many directions to illuminate vistas and planes. All surfaces are carefully sloped, the angles meticulously calculated to give optimum visual effect. The crypt, below the raised choir, is painted in bright colours and lit from ceiling oculi.

One of Le Corbusier's late works, the Convent is a tour de force.

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SUBJECT AREA: Mechanical, pneumatic and hydraulic engineering, Public utilities

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He was the third child and the eldest of three boys born to John Murdoch and Anna Bruce. His father, a millwright and joiner, spelled his name Murdock on moving to England. He was educated for some years at Old Cumnock Parish School and in 1777, with his father, he built a "wooden horse", supposed to have been a form of cycle. In 1777 he set out for the Soho manufactory of Boulton \& Watt, where he quickly found employment, Boulton supposedly being impressed by the lad's hat. This was oval and made of wood, and young William had turned it himself on a lathe of his own manufacture. Murdock quickly became Boulton \& Watt's representative in Cornwall, where there was a flourishing demand for steam-engines. He lived at Redruth during this period.

It is said that a number of the inventions generally ascribed to James Watt are in fact as much due to Murdock as to Watt. Examples are the piston and slide valve and the sun-and-planet gearing. A number of other inventions are attributed to Murdock alone: typical of these is the oscillating cylinder engine which obviated the need for an overhead beam.

In about 1784 he planned a steam-driven road carriage of which he made a working model. He also planned a high-pressure non-condensing engine. The model carriage was demonstrated before Murdock's friends and travelled at a speed of 6–8 mph (10–13 km/h). Boulton and Watt were both antagonistic to their employees' developing independent inventions, and when in 1786 Murdock set out with his model for the Patent Office, having received no reply to a letter he had sent to Watt, Boulton intercepted him on the open road near Exeter and dissuaded him from going any further.

In 1785 he married Mary Painter, daughter of a mine captain. She bore him four children, two of whom died in infancy, those surviving eventually joining their father at the Soho Works. Murdock was a great believer in pneumatic power: he had a pneumatic bell-push at Sycamore House, his home near Soho. The pattern-makers lathe at the Soho Works worked for thirty-five years from an air motor. He also conceived the idea of a vacuum piston engine to exhaust a pipe, later developed by the London Pneumatic Despatch Company's railway and the forerunner of the atmospheric railway.

Another field in which Murdock was a pioneer was the gas industry. In 1791, in Redruth, he was experimenting with different feedstocks in his home-cum-office in Cross Street: of wood, peat and coal, he preferred the last. He designed and built in the backyard of his house a prototype generator, washer, storage and distribution plant, and publicized the efficiency of coal gas as an illuminant by using it to light his own home. In 1794 or 1795 he informed Boulton and Watt of his experimental work and of its success, suggesting that a patent should be applied for. James Watt Junior was now in the firm and was against patenting the idea since they had had so much trouble with previous patents and had been involved in so much litigation. He refused Murdock's request and for a short time Murdock left the firm to go home to his father's mill. Boulton \& Watt soon recognized the loss of a valuable servant and, in a short time, he was again employed at Soho, now as Engineer and Superintendent at the increased salary of £300 per year plus a 1 per cent commission. From this income, he left £14,000 when he died in 1839.

In 1798 the workshops of Boulton and Watt were permanently lit by gas, starting with the foundry building. The 180 ft (55 m) façade of the Soho works was illuminated by gas for the Peace of Paris in June 1814. By 1804, Murdock had brought his apparatus to a point where Boulton \& Watt were able to canvas for orders. Murdock continued with the company after the death of James Watt in 1819, but retired in 1830 and continued to live at Sycamore House, Handsworth, near Birmingham.

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SUBJECT AREA: Aerospace, Steam and internal combustion engines

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Harry Ricardo was the eldest child and only son of Halsey Ricardo (architect) and Catherine Rendel (daughter of Alexander Rendel, senior partner in the firm of consulting civil engineers that later became Rendel, Palmer and Tritton). He was educated at Rugby School and at Cambridge. While still at school, he designed and made a steam engine to drive his bicycle, and by the time he went up to Cambridge in 1903 he was a skilled craftsman. At Cambridge, he made a motor cycle powered by a petrol engine of his own design, and with this he won a fuel-consumption competition by covering almost 40 miles (64 km) on a quart (1.14 1) of petrol. This brought him to the attention of Professor Bertram Hopkinson, who invited him to help with research on turbulence and pre-ignition in internal combustion engines. After leaving Cambridge in 1907, he joined his grandfather's firm and became head of the design department for mechanical equipment used in civil engineering. In 1916 he was asked to help with the problem of loading tanks on to railway trucks. He was then given the task of designing and organizing the manufacture of engines for tanks, and the success of this enterprise encouraged him to set up his own establishment at Shoreham, devoted to research on, and design and development of, internal combustion engines.

Leading on from the work with Hopkinson were his discoveries on the suppression of detonation in spark-ignition engines. He noted that the current paraffinic fuels were more prone to detonation than the aromatics, which were being discarded as they did not comply with the existing specifications because of their high specific gravity. He introduced the concepts of "highest useful compression ratio" (HUCR) and "toluene number" for fuel samples burned in a special variable compression-ratio engine. The toluene number was the proportion of toluene in heptane that gave the same HUCR as the fuel sample. Later, toluene was superseded by iso-octane to give the now familiar octane rating. He went on to improve the combustion in side-valve engines by increasing turbulence, shortening the flame path and minimizing the clearance between piston and head by concentrating the combustion space over the valves. By these means, the compression ratio could be increased to that used by overhead-valve engines before detonation intervened. The very hot poppet valve restricted the advancement of all internal combustion engines, so he turned his attention to eliminating it by use of the single sleeve-valve, this being developed with support from the Air Ministry. By the end of the Second World War some 130,000 such aero-engines had been built by Bristol, Napier and Rolls-Royce before the piston aero-engine was superseded by the gas turbine of Whittle. He even contributed to the success of the latter by developing a fuel control system for it.

Concurrent with this was work on the diesel engine. He designed and developed the engine that halved the fuel consumption of London buses. He invented and perfected the "Comet" series of combustion chambers for diesel engines, and the Company was consulted by the vast majority of international internal combustion engine manufacturers. He published and lectured widely and fully deserved his many honours; he was elected FRS in 1929, was President of the Institution of Mechanical Engineers in 1944–5 and was knighted in 1948. This shy and modest, though very determined man was highly regarded by all who came into contact with him. It was said that research into internal combustion engines, his family and boats constituted all that he would wish from life.

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