-
1 explore a chance
Макаров: изучить возможность, изучить шанс -
2 chance
nшанс, возможность; удача- historic chanceto finish off smb's political chances — положить конец чьей-л. политической карьере
- on the basis of equal chances -
3 explore
[ɪk'splɔː]1) Общая лексика: выяснить, выяснять, зондировать, изучать, изучить, исследовать (рану), обследовать, осваивать, попробовать себя в (provide young women with the chance to explore poetry, fiction, creative non-fiction, songwriting, journalism, screenwriting, playwriting and editing), прозондировать, тестировать2) Геология: производить разведки3) Медицина: осматривать (больного), осматривать больного4) Техника: выявлять5) Строительство: расследовать6) Математика: рассмотреть7) Горное дело: разведать, разведывать8) Нефть: вести разведку, вести разведочные работы9) Бурение: производить разведку10) Макаров: изыскать, изыскивать, производить исследование, исследовать (заниматься изучением космоса р-нов Земли)11) Цемент: производить изыскания -
4 prospect
1. noun2) (expectation) Erwartung, die (of hinsichtlich)[at the] prospect of something/doing something — (mental picture, likelihood) [bei der] Aussicht auf etwas(Akk.) /[darauf], etwas zu tun
have the prospect of something, have something in prospect — etwas in Aussicht haben
a man with [good] prospects — ein Mann mit Zukunft
somebody's prospects of something/doing something — jemandes Chancen auf etwas (Akk.) /darauf, etwas zu tun
the prospects for somebody/something — die Aussichten für jemanden/etwas
4) (possible customer) [möglicher] Kunde/[mögliche] Kundin2. intransitive verbbe a good prospect for a race/the job — bei einem Rennen gute Chancen haben/ein aussichtsreicher Kandidat für den Job sein
(explore for mineral) prospektieren (Bergw.); nach Bodenschätzen suchen; (fig.) Ausschau halten ( for nach)* * *1. ['prospekt] noun1) (an outlook for the future; a view of what one may expect to happen: He didn't like the prospect of going abroad; a job with good prospects.) die Aussicht2) (a view or scene: a fine prospect.) die Aussicht2. [prə'spekt, ]( American[) 'prospekt] verb- academic.ru/58506/prospector">prospector- prospectus* * *pros·pectI. n[ˈprɒspekt, AM ˈprɑ:-]I have to meet my boss tomorrow and I don't relish the \prospect ich habe morgen ein Gespräch mit meinem Chef und könnte dankend darauf verzichten▪ the \prospect of doing sth die Aussicht, etw zu tunwhat are the \prospects of success in this venture? wie steht es um die Erfolgsaussichten bei diesem Unternehmen?3. (opportunities)▪ \prospects pl Aussichten pl, Chancen plher \prospects are good ihre Aussichten stehen gutemployment \prospects Aussichten auf Arbeit5. (potential customer) potenzieller Kunde/potenzielle Kundin; (potential employee) aussichtsreicher Kandidat/aussichtsreiche KandidatinII. vi[prəˈspekt, AM ˈprɑ:-]nach Bodenschätzen suchento \prospect for gold nach Gold suchen* * *['prɒspekt]1. n1) (= outlook, chance) Aussicht f (of auf +acc)he has no prospects — er hat keine Zukunft
to hold out the prospect of sth — etw in Aussicht stellen
2)I think this product would be a good prospect —
Manchester is a good prospect for the cup — Manchester ist ein aussichtsreicher Kandidat für den Pokal
a likely prospect as a customer/candidate — ein aussichtsreicher Kunde/Kandidat
a likely prospect as a husband —
2. vt[prə'spekt] (MIN) nach Bodenschätzen suchen in (+dat)3. vi[prə'spekt] (MIN) nach Bodenschätzen suchen* * *A sbe in prospect in Aussicht stehen, zu erwarten sein;hold out a prospect of etwas in Aussicht stellen;have sth in prospect etwas in Aussicht haben;no prospect of success keine Erfolgsaussichten;there is a prospect that … es besteht Aussicht, dass …;at the prospect of in Erwartung (gen);what a prospect! iron schöne Aussichten!4. a) WIRTSCH etc Interessent(in)c) mögliche(r) Kandidat(in)5. Bergbau:a) (Erz- etc) Anzeichen nb) Schürfprobe fc) Stelle f mit (Erz- etc) Anzeichend) Schürfstelle f, Lagerstätte fe) Schürfbetrieb m6. obs fig Überblick m (of über akk):on nearer prospect bei näherer BetrachtungB v/t [Br meist prəˈspekt]for nach Gold etc):prospect a district eine Gegend auf das Vorhandensein von Lagerstätten untersuchen2. MINER eine Fundstelle etc versuchsweise erschürfen, auf Erz-, Goldhaltigkeit etc untersuchenC v/i [Br meist prəˈspekt]prospect for oil nach Öl bohren;2. MINER sich gut, schlecht (zur Ausbeute) eignenfor nach)* * *1. noun2) (expectation) Erwartung, die (of hinsichtlich)[at the] prospect of something/doing something — (mental picture, likelihood) [bei der] Aussicht auf etwas(Akk.) /[darauf], etwas zu tun
have the prospect of something, have something in prospect — etwas in Aussicht haben
3) in pl. (hope of success) Zukunftsaussichtena man with [good] prospects — ein Mann mit Zukunft
somebody's prospects of something/doing something — jemandes Chancen auf etwas (Akk.) /darauf, etwas zu tun
the prospects for somebody/something — die Aussichten für jemanden/etwas
4) (possible customer) [möglicher] Kunde/[mögliche] Kundin2. intransitive verbbe a good prospect for a race/the job — bei einem Rennen gute Chancen haben/ein aussichtsreicher Kandidat für den Job sein
(explore for mineral) prospektieren (Bergw.); nach Bodenschätzen suchen; (fig.) Ausschau halten ( for nach)* * *n.Aussicht -en f.Chance n.Erwartung f.Perspektive f.Sicht -en f. -
5 prospect
1. n вид, панорама, перспектива2. n русск. проспект3. n часто перспектива; виды, планы на будущее; надеждаin prospect — в перспективе, в дальнейшем
4. n горн. геол. поиски, изыскание, разведка5. n горн. геол. потенциальная или перспективная залежь6. n горн. геол. указание на наличие залежи7. n горн. геол. горн. рудник или шахта в начальной стадии эксплуатации8. n горн. геол. горн. содержание руды9. v исследовать; делать изыскания; разведывать10. v горн. производить опытную добычу рудыСинонимический ряд:1. chance (noun) chance; future; likelihood; likeliness; odds; outlook; possibility; probability2. expectation (noun) anticipation; contemplation; expectance; expectancy; expectation; hope; promise; verisimilitude3. prospects (noun) clients; customers; possibilities; prospects4. view (noun) landscape; lookout; outlook; perspective; scape; scene; sight; survey; view; vista5. explore (verb) delve into; dig into; explore; go into; inquire into; investigate; look into; probe; search; siftАнтонимический ряд:darkness; dimness; hopelessness; obscurity -
6 prospect
1. ['prɔspekt] сущ.1)а) ( prospect of) шанс, надеждаThere is not much prospect of any improvement in the weather. — Надежды на то, что погода улучшится, почти нет.
Syn:with no / without prospects — без перспективы
I had no job, no education, and no prospects. — У меня не было никакой работы, никакого образования и никакой перспективы.
He was careless about his personal prospects. — Он не заботился о своем будущем.
Syn:opportunity 2)2) вид, панорама, зрелище, картина; перспективаThe noblest prospect which a Scotchman ever sees, is the high road that leads him to England. (Johnson) — Самое величественное зрелище для шотландца - это высокогорная дорога, ведущая в Англию.
Syn:3) зрелище, явление, картина4) обзор, обозрение ( процесс)the figure that is most convenient for prospect — персона, наиболее удобная для обозрения
5) потенциальный клиент, подписчикShe naturally considered her friends her best prospects. — Она действительно думала, что её друзья - самые вероятные будущие подписчики (её издания).
6) простофиля, жертва (воров, мошенников и т. п.)7) горн.; геол.а) изыскание, разведкаб) проба грунта2. [prə'spekt] гл.1)а) исследовать; делать изысканияб) геол. проводить разведку, искать ( полезные ископаемые)Oil companies spend much of their profit in prospecting for oil. — Нефтяные компании тратят большую часть своей прибыли на разведку нефти.
Syn:2) быть перспективной (о шахте, месторождении) -
7 do
1. n разг. обман, мошенничество, надувательство; «розыгрыш»2. n разг. развлечение, веселье; вечер3. n разг. сделка4. n разг. участие, доля5. n разг. австрал. разг. удача, успех6. n разг. разг. обслуживание7. v делать, производить действиеhe has done much for me — он много сделал для меня; он мне оказал большую услугу
what can I do for you?, can I do anything for you? — чем я могу быть вам полезен?, что я могу сделать для вас?
do as you are told — делайте, что вам велят
what is to be done? — что же делать?, что можно сделать?
do as you are bidden — делайте, как вам приказано
8. v делаться, происходитьhe came to see what was doing — он пришёл посмотреть, что делается
I am doubtful what I ought to do — не знаю, что мне делать
9. v поступать, делатьyou did well to refuse his invitation — вы правильно сделали, что не приняли его приглашения
to do no work — ничего не делать; не трудиться
the first thing to do — первое, что надо сделать
10. v заниматься; работатьwhat does he do for a living? — чем он зарабатывает на жизнь?, чем он занимается?
I have nothing to do — мне нечего делать; мне нечем заняться
are you doing anything tomorrow? — у вас есть какие-нибудь планы на завтра?, вы заняты завтра?
to do business — заниматься коммерцией, быть коммерсантом
11. v обслуживать; заниматься12. v осуществлять, выполнять; делать, проделыватьto do odd jobs — выполнять случайную работу, жить случайным заработком
do it however you can — делайте, как сможете
not to do a stroke of work — ничего не делать;
see what you can do — подумайте, что можно сделать
13. v творить, делатьI mean to do it, too — я действительно собираюсь сделать это
I say you must do it — я говорю, что ты должен это сделать
14. v годиться, подходить; быть достаточнымthat will not do me — это мне не подходит, это меня не устраивает
that will never do — это совершенно недопустимо, это никуда не годится
do tell! — вот те на!, не может быть!
that will do — достаточно; довольно; сойдет
to do good — быть полезным, приносить пользу
do grow up! — пора быть взрослым!, пора и повзрослеть!
15. v довольствоваться, обходитьсяyou must make do with what you have — нужно обходиться тем, что есть
to be just able to make do — иметь скромный достаток, кое-как сводить концы с концами
I think I can do with six — думаю, что шести хватит
16. v разг. обманывать, надуватьI am afraid you have been done — боюсь, что вас обманули
do down — обманывать, надувать; брать верх
17. v разг. обманом отбирать; выживать18. муз. доСинонимический ряд:1. accomplish (verb) accomplish; achieve; attain; bring about; carry out; cause; effect; execute; fulfil; fulfill; make; perform; produce; prosecute; work2. act (verb) acquit; act; appear; bear; behave; carry; comport; conduct; demean; deport; discourse; disport; enact; go on; impersonate; move; perform; personate; play; playact; practice; proceed; quit; render; seem3. arrange (verb) arrange; clean; organize; prepare4. cheat (verb) beat; bilk; boodle; cheat; chisel; chouse; cozen; defraud; diddle; flimflam; gyp; overreach; ream; sucker; swindle; take; trick5. close (verb) close; complete; conclude; consummate; determine; end; finish; halt; terminate; ultimate; wind up; wrap up6. cook (verb) cook7. decipher (verb) decipher; decode; solve; work out8. exert (verb) exert; put forth9. give (verb) dramatise; enact; give; present; put on; stage10. happen (verb) befall; betide; break; chance; come; come off; develop; fall out; go; hap; happen; occur; pass; rise; transpire11. represent (verb) impersonate; portray; represent12. serve (verb) answer; be adequate; be sufficient; be useful; serve; suffice; suffice for; suit13. shift (verb) fare; fend; get along; get by; get on; manage; muddle through; shift; stagger along; stagger on14. travel (verb) cover; explore; journey; pass over; track; travel; traverseАнтонимический ряд:defer; destroy; fail; frustrate; hesitate; idle; mar; miss; neglect; omit; procrastinate; ruin -
8 Creativity
Put in this bald way, these aims sound utopian. How utopian they areor rather, how imminent their realization-depends on how broadly or narrowly we interpret the term "creative." If we are willing to regard all human complex problem solving as creative, then-as we will point out-successful programs for problem solving mechanisms that simulate human problem solvers already exist, and a number of their general characteristics are known. If we reserve the term "creative" for activities like discovery of the special theory of relativity or the composition of Beethoven's Seventh Symphony, then no example of a creative mechanism exists at the present time. (Simon, 1979, pp. 144-145)Among the questions that can now be given preliminary answers in computational terms are the following: how can ideas from very different sources be spontaneously thought of together? how can two ideas be merged to produce a new structure, which shows the influence of both ancestor ideas without being a mere "cut-and-paste" combination? how can the mind be "primed," so that one will more easily notice serendipitous ideas? why may someone notice-and remember-something fairly uninteresting, if it occurs in an interesting context? how can a brief phrase conjure up an entire melody from memory? and how can we accept two ideas as similar ("love" and "prove" as rhyming, for instance) in respect of a feature not identical in both? The features of connectionist AI models that suggest answers to these questions are their powers of pattern completion, graceful degradation, sensitization, multiple constraint satisfaction, and "best-fit" equilibration.... Here, the important point is that the unconscious, "insightful," associative aspects of creativity can be explained-in outline, at least-by AI methods. (Boden, 1996, p. 273)There thus appears to be an underlying similarity in the process involved in creative innovation and social independence, with common traits and postures required for expression of both behaviors. The difference is one of product-literary, musical, artistic, theoretical products on the one hand, opinions on the other-rather than one of process. In both instances the individual must believe that his perceptions are meaningful and valid and be willing to rely upon his own interpretations. He must trust himself sufficiently that even when persons express opinions counter to his own he can proceed on the basis of his own perceptions and convictions. (Coopersmith, 1967, p. 58)he average level of ego strength and emotional stability is noticeably higher among creative geniuses than among the general population, though it is possibly lower than among men of comparable intelligence and education who go into administrative and similar positions. High anxiety and excitability appear common (e.g. Priestley, Darwin, Kepler) but full-blown neurosis is quite rare. (Cattell & Butcher, 1970, p. 315)he insight that is supposed to be required for such work as discovery turns out to be synonymous with the familiar process of recognition; and other terms commonly used in the discussion of creative work-such terms as "judgment," "creativity," or even "genius"-appear to be wholly dispensable or to be definable, as insight is, in terms of mundane and well-understood concepts. (Simon, 1989, p. 376)From the sketch material still in existence, from the condition of the fragments, and from the autographs themselves we can draw definite conclusions about Mozart's creative process. To invent musical ideas he did not need any stimulation; they came to his mind "ready-made" and in polished form. In contrast to Beethoven, who made numerous attempts at shaping his musical ideas until he found the definitive formulation of a theme, Mozart's first inspiration has the stamp of finality. Any Mozart theme has completeness and unity; as a phenomenon it is a Gestalt. (Herzmann, 1964, p. 28)Great artists enlarge the limits of one's perception. Looking at the world through the eyes of Rembrandt or Tolstoy makes one able to perceive aspects of truth about the world which one could not have achieved without their aid. Freud believed that science was adaptive because it facilitated mastery of the external world; but was it not the case that many scientific theories, like works of art, also originated in phantasy? Certainly, reading accounts of scientific discovery by men of the calibre of Einstein compelled me to conclude that phantasy was not merely escapist, but a way of reaching new insights concerning the nature of reality. Scientific hypotheses require proof; works of art do not. Both are concerned with creating order, with making sense out of the world and our experience of it. (Storr, 1993, p. xii)The importance of self-esteem for creative expression appears to be almost beyond disproof. Without a high regard for himself the individual who is working in the frontiers of his field cannot trust himself to discriminate between the trivial and the significant. Without trust in his own powers the person seeking improved solutions or alternative theories has no basis for distinguishing the significant and profound innovation from the one that is merely different.... An essential component of the creative process, whether it be analysis, synthesis, or the development of a new perspective or more comprehensive theory, is the conviction that one's judgment in interpreting the events is to be trusted. (Coopersmith, 1967, p. 59)In the daily stream of thought these four different stages [preparation; incubation; illumination or inspiration; and verification] constantly overlap each other as we explore different problems. An economist reading a Blue Book, a physiologist watching an experiment, or a business man going through his morning's letters, may at the same time be "incubating" on a problem which he proposed to himself a few days ago, be accumulating knowledge in "preparation" for a second problem, and be "verifying" his conclusions to a third problem. Even in exploring the same problem, the mind may be unconsciously incubating on one aspect of it, while it is consciously employed in preparing for or verifying another aspect. (Wallas, 1926, p. 81)he basic, bisociative pattern of the creative synthesis [is] the sudden interlocking of two previously unrelated skills, or matrices of thought. (Koestler, 1964, p. 121)11) The Earliest Stages in the Creative Process Involve a Commerce with DisorderEven to the creator himself, the earliest effort may seem to involve a commerce with disorder. For the creative order, which is an extension of life, is not an elaboration of the established, but a movement beyond the established, or at least a reorganization of it and often of elements not included in it. The first need is therefore to transcend the old order. Before any new order can be defined, the absolute power of the established, the hold upon us of what we know and are, must be broken. New life comes always from outside our world, as we commonly conceive that world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." (Ghiselin, 1985, p. 4)New life comes always from outside our world, as we commonly conceive our world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." Chaos and disorder are perhaps the wrong terms for that indeterminate fullness and activity of the inner life. For it is organic, dynamic, full of tension and tendency. What is absent from it, except in the decisive act of creation, is determination, fixity, and commitment to one resolution or another of the whole complex of its tensions. (Ghiselin, 1952, p. 13)[P]sychoanalysts have principally been concerned with the content of creative products, and with explaining content in terms of the artist's infantile past. They have paid less attention to examining why the artist chooses his particular activity to express, abreact or sublimate his emotions. In short, they have not made much distinction between art and neurosis; and, since the former is one of the blessings of mankind, whereas the latter is one of the curses, it seems a pity that they should not be better differentiated....Psychoanalysis, being fundamentally concerned with drive and motive, might have been expected to throw more light upon what impels the creative person that in fact it has. (Storr, 1993, pp. xvii, 3)A number of theoretical approaches were considered. Associative theory, as developed by Mednick (1962), gained some empirical support from the apparent validity of the Remote Associates Test, which was constructed on the basis of the theory.... Koestler's (1964) bisociative theory allows more complexity to mental organization than Mednick's associative theory, and postulates "associative contexts" or "frames of reference." He proposed that normal, non-creative, thought proceeds within particular contexts or frames and that the creative act involves linking together previously unconnected frames.... Simonton (1988) has developed associative notions further and explored the mathematical consequences of chance permutation of ideas....Like Koestler, Gruber (1980; Gruber and Davis, 1988) has based his analysis on case studies. He has focused especially on Darwin's development of the theory of evolution. Using piagetian notions, such as assimilation and accommodation, Gruber shows how Darwin's system of ideas changed very slowly over a period of many years. "Moments of insight," in Gruber's analysis, were the culminations of slow long-term processes.... Finally, the information-processing approach, as represented by Simon (1966) and Langley et al. (1987), was considered.... [Simon] points out the importance of good problem representations, both to ensure search is in an appropriate problem space and to aid in developing heuristic evaluations of possible research directions.... The work of Langley et al. (1987) demonstrates how such search processes, realized in computer programs, can indeed discover many basic laws of science from tables of raw data.... Boden (1990a, 1994) has stressed the importance of restructuring the problem space in creative work to develop new genres and paradigms in the arts and sciences. (Gilhooly, 1996, pp. 243-244; emphasis in original)Historical dictionary of quotations in cognitive science > Creativity
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