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exploring working

  • 1 exploring working

    Универсальный англо-русский словарь > exploring working

  • 2 разведочная выработка

    5) Gold mining: clearing (Jewelia)

    Универсальный русско-английский словарь > разведочная выработка

  • 3 выработка

    course горн., opening, generation, output, outturn, production, mine roadway, roadway, working, (напр. электроэнергии) yield
    * * *
    вы́работка ж.
    1. ( изготовление) manufacture, production
    3. ( генерация) generation
    4. (истощение, исчерпывание запасов) exhaustion, depletion
    5. ( износ при вращении) wear out of true
    дета́ль име́ет вы́работку — the part wears out of true
    6. горн. working, opening, roadway, entry, heading
    выводи́ть вы́работку на пове́рхность — open a working to daylight
    гаси́ть вы́работку — fill [gob] a slope
    затопля́ть вы́работку — waterlog a working
    оставля́ть [забра́сывать] вы́работку — abandon a working
    проходи́ть [проводи́ть] вы́работку — drive a working; ( вертикальную) sink a working
    аккумули́рующая вы́работка — main roadway
    бурова́я вы́работка — drilling room (place underground to install drilling machines)
    вентиляцио́нная вы́работка — air heading, airway
    вентиляцио́нная, входна́я вы́работка — intake airway
    вертика́льная вы́работка — vertical opening
    восстаю́щая вы́работка — entry, raise
    горизонта́льная вы́работка — level [horizontal] working
    вы́работка для размино́вки — branch heading
    капита́льная вы́работка — permanent working, permanent opening
    накло́нная вы́работка — incline working, slope
    нарезна́я вы́работка — development working
    обходна́я вы́работка — by-way
    отка́точная вы́работка — haulageway
    очи́стная вы́работка — stope
    пога́шенная вы́работка — filled stope, gob working
    подготови́тельная вы́работка — development working
    полева́я вы́работка — lateral working
    вы́работка поня́тий — concept formation
    разве́дочная вы́работка — exploratory [exploring] working
    сбо́рная вы́работка — main roadway
    скре́перная вы́работка — scraper working

    Русско-английский политехнический словарь > выработка

  • 4 Raky, Anton

    [br]
    b. 5 January 1868 Seelenberg, Taunus, Germany
    d. 22 August 1943 Berlin, Germany
    [br]
    German inventor of rapid percussion drilling, entrepreneur in the exploration business.
    [br]
    While apprenticed at the drilling company of E. Przibilla, Raky already called attention by his reflections towards developing drilling methods and improving tools. Working as a drilling engineer in Alsace, he was extraordinarily successful in applying an entire new hydraulic boring system in which the rod was directly connected to the chisel. This apparatus, driven by steam, allowed extremely rapid percussions with very low lift.
    With some improvements, his boring rig drilled deep holes at high speed and at least doubled the efficiency of the methods hitherto used. His machine, which was also more reliable, was secured by a patent in 1895. With borrowed capital, he founded the Internationale Bohrgesellschaft in Strasbourg in the same year, and he began a career in the international exploration business that was unequalled as well as breathtaking. Until 1907 the total depth of the drillings carried out by the company was 1,000 km.
    Raky's rapid drilling was unrivalled and predominant until improved rotary drilling took over. His commercial sense in exploiting the technical advantages of his invention by combining drilling with producing the devices in his own factory at Erkelenz, which later became the headquarters of the company, and in speculating on the concessions for the explored deposits made him by far superior to all of his competitors, who were provoked into contests which they generally lost. His flourishing company carried out drilling in many parts of the world; he became the initiator of the Romanian oil industry and his extraordinary activities in exploring potash and coal deposits in different parts of Germany, especially in the Ruhr district, provoked the government in 1905 into stopping granting claims to private companies. Two years later, he was forced to withdraw from his holding company because of his restless and eccentric character. He turned to Russia and, during the First World War, he was responsible for the reconstruction of the destroyed Romanian oilfields. Thereafter, partly financed by mining companies, he continued explorations in several European countries, and in Germany he was pioneering again with exploring oilfields, iron ore and lignite deposits which later grew in economic value. Similar to Glenck a generation before, he was a daring entrepreneur who took many risks and opened new avenues of exploration, and he was constantly having to cope with a weak financial position, selling concessions and shares, most of them to Preussag and Wintershall; however, this could not prevent his business from collapse in 1932. He finally gave up drilling in 1936 and died a poor man.
    [br]
    Principal Honours and Distinctions
    Dr-Ing. (Hon.) Bergakademie Clausthal 1921.
    Further Reading
    G.P.R.Martin, 1967, "Hundert Jahre Anton Raky", Erdöl-Erdgas-Zeitschrift, 83:416–24 (a detailed description).
    D.Hoffmann, 1959, 150 Jahre Tiefbohrungen in Deutschland, Vienna and Hamburg: 32– 4 (an evaluation of his technologial developments).
    WK

    Biographical history of technology > Raky, Anton

  • 5 couple

    ˈkʌpl
    1. сущ.
    1) пара, два, двое Syn: pair
    1., two
    2., brace
    1.
    2) пара а) муж и жена, жених и невеста б) танцевальная пара в) пара гончих, борзых, используемых при охоте;
    тж. пара кроликов или зайцев
    3) несколько( неопределенное небольшое количество) a couple of days ago ≈ несколько дней назад We spent a couple of hours resting and exploring the ruins. ≈ Мы потратили пару часов на отдых и исследование развалин. Syn: few
    4) тех. пара сил
    5) электр. термопара ∙ to hunt in couples ≈ быть неразлучными
    2. гл.
    1) соединять(ся), связывать(ся) (on) (тж. couple together, couple up) ;
    ж.-д. сцеплять Additional carriages can be coupled on (to the train) as needed. ≈ К поезду при надобности можно прицепить дополнительные вагоны. Couple the two pipes together so that the water can flow freely. ≈ Свинти две трубы, так чтобы вода могла течь. Working too hard, coupled with not getting enough sleep, made her ill. ≈ Тяжелая работа и недосыпание привели к тому, что она заболела. Syn: connect, conjoin, link
    2) связывать, ассоциировать( with) The fall in the number of empty jobs is coupled with the rise in the cost of living. ≈ Падение числа рабочих мест связано с ростом стоимости жизни. His name has been coupled with hers in the society page of the newspaper. ≈ В светской хронике их имена стали упоминать вместе. A man who coupled acts with words. ≈ Человек, у которого слова не расходятся с делами. Syn: associate
    3.
    2)
    3) поженить(ся) ;
    спаривать(ся), совокупляться( with) Sir, I will not have you coupling with my wife! ≈ Сэр, я не намерен терпеть, что вы спите с моей женой! Syn: pair
    2. пара, парные предметы;
    два - a * of apples два яблока - to work in *s работать парами - a * of girls две девушки (разговорное) несколько;
    пара - in a * of days через два-три дня - she will arrive in a * of hours она приедет через пару часов пара (супруги, жених и невеста) - married * супружеская пара - loving * любящая пара пара (в танцах) - ten *s were on the floor танцевали десять пар пара борзых на своре или гончих на смычке (техническое) пара сил (электротехника) термопара, термоэлемент > to go in *s быть неразлучными;
    > it is not every * that is a pair двое - это еще не пара соединять, сцеплять;
    связывать;
    соединяться связывать, ассоциировать (разговорное) пожениться спаривать;
    спариваться, совокупляться ( техническое) включать;
    соединять общим приводом (электротехника) связывать address ~ вчт. адресная пара childless ~ бездетная супружеская пара couple два, пара;
    lend me a couple of pencils дай мне пару карандашей ~ пара борзых на своре или гончих на смычке ~ тех. пара сил ~ пожениться ~ свора ~ связывать, ассоциировать ~ соединять ~ спариваться ~ ж.-д. сцеплять ~ чета, пара ~ эл. элемент;
    to hunt in couples быть неразлучными data ~ вчт. информационная связь ~ эл. элемент;
    to hunt in couples быть неразлучными couple два, пара;
    lend me a couple of pencils дай мне пару карандашей married ~ супружеская пара

    Большой англо-русский и русско-английский словарь > couple

  • 6 рабочий электрод

    1) Medicine: exploring electrode

    Универсальный русско-английский словарь > рабочий электрод

  • 7 tutkiva

    yks.nom. tutkiva; yks.gen. tutkivan; yks.part. tutkivaa; yks.ill. tutkivaan; mon.gen. tutkivien tutkivain; mon.part. tutkivia; mon.ill. tutkiviin
    bolting (adje)
    conning (adje)
    enquiring (adje)
    examining (adje)
    exploring (adje)
    inquiring (adje)
    inspecting (adje)
    investigating (adje)
    investigative (adje)
    perusing (adje)
    plumbing (adje)
    probing (adje)
    researching (adje)
    screening (adje)
    searching (adje)
    sifting (adje)
    sounding (adje)
    studying (adje)
    surveying (adje)
    testing (adje)
    trying (adje)
    vetting (adje)
    working (adje)
    * * *
    • investigative
    • searching
    • thoughtful
    • inquiring

    Suomi-Englanti sanakirja > tutkiva

  • 8 couple

    ['kʌpl] 1. сущ.
    1) пара, два, двое
    Syn:
    pair 1., two 2., brace 1.
    2) пара (муж и жена, жених и невеста)
    4) охот. пара гончих, борзых
    5) разг. несколько

    We spent a couple of hours resting and exploring the ruins. — В течение нескольких часов мы отдыхали и осматривали развалины.

    6) тех. пара сил
    7) эл. термопара
    ••
    2. гл.
    1) = couple up
    а) соединять, ж.-д. сцеплять

    Additional carriages can be coupled on (to the train) as needed. — При необходимости (к поезду) можно прицепить дополнительные вагоны.

    Couple the two pipes together so that the water can flow freely. — Свинти две трубы, так чтобы вода могла течь.

    Syn:
    б) соединяться, связываться

    Working too hard, coupled with not getting enough sleep, made her ill. — Тяжёлая работа и недосыпание привели к тому, что она заболела.

    Syn:
    2) связывать, ассоциировать

    His name has been coupled with hers in the society page of the newspaper. — В светской хронике их имена стали упоминаться вместе.

    A man who coupled acts with words. — Человек, у которого слова не расходятся с делами.

    Syn:
    3)
    а) спариваться, совокупляться
    б) разг. жениться, вступать в брак
    Syn:
    pair 2.

    Англо-русский современный словарь > couple

  • 9 Introduction

       Portugal is a small Western European nation with a large, distinctive past replete with both triumph and tragedy. One of the continent's oldest nation-states, Portugal has frontiers that are essentially unchanged since the late 14th century. The country's unique character and 850-year history as an independent state present several curious paradoxes. As of 1974, when much of the remainder of the Portuguese overseas empire was decolonized, Portuguese society appeared to be the most ethnically homogeneous of the two Iberian states and of much of Europe. Yet, Portuguese society had received, over the course of 2,000 years, infusions of other ethnic groups in invasions and immigration: Phoenicians, Greeks, Celts, Romans, Suevi, Visigoths, Muslims (Arab and Berber), Jews, Italians, Flemings, Burgundian French, black Africans, and Asians. Indeed, Portugal has been a crossroads, despite its relative isolation in the western corner of the Iberian Peninsula, between the West and North Africa, Tropical Africa, and Asia and America. Since 1974, Portugal's society has become less homogeneous, as there has been significant immigration of former subjects from its erstwhile overseas empire.
       Other paradoxes should be noted as well. Although Portugal is sometimes confused with Spain or things Spanish, its very national independence and national culture depend on being different from Spain and Spaniards. Today, Portugal's independence may be taken for granted. Since 1140, except for 1580-1640 when it was ruled by Philippine Spain, Portugal has been a sovereign state. Nevertheless, a recurring theme of the nation's history is cycles of anxiety and despair that its freedom as a nation is at risk. There is a paradox, too, about Portugal's overseas empire(s), which lasted half a millennium (1415-1975): after 1822, when Brazil achieved independence from Portugal, most of the Portuguese who emigrated overseas never set foot in their overseas empire, but preferred to immigrate to Brazil or to other countries in North or South America or Europe, where established Portuguese overseas communities existed.
       Portugal was a world power during the period 1415-1550, the era of the Discoveries, expansion, and early empire, and since then the Portuguese have experienced periods of decline, decadence, and rejuvenation. Despite the fact that Portugal slipped to the rank of a third- or fourth-rate power after 1580, it and its people can claim rightfully an unusual number of "firsts" or distinctions that assure their place both in world and Western history. These distinctions should be kept in mind while acknowledging that, for more than 400 years, Portugal has generally lagged behind the rest of Western Europe, although not Southern Europe, in social and economic developments and has remained behind even its only neighbor and sometime nemesis, Spain.
       Portugal's pioneering role in the Discoveries and exploration era of the 15th and 16th centuries is well known. Often noted, too, is the Portuguese role in the art and science of maritime navigation through the efforts of early navigators, mapmakers, seamen, and fishermen. What are often forgotten are the country's slender base of resources, its small population largely of rural peasants, and, until recently, its occupation of only 16 percent of the Iberian Peninsula. As of 1139—10, when Portugal emerged first as an independent monarchy, and eventually a sovereign nation-state, England and France had not achieved this status. The Portuguese were the first in the Iberian Peninsula to expel the Muslim invaders from their portion of the peninsula, achieving this by 1250, more than 200 years before Castile managed to do the same (1492).
       Other distinctions may be noted. Portugal conquered the first overseas empire beyond the Mediterranean in the early modern era and established the first plantation system based on slave labor. Portugal's empire was the first to be colonized and the last to be decolonized in the 20th century. With so much of its scattered, seaborne empire dependent upon the safety and seaworthiness of shipping, Portugal was a pioneer in initiating marine insurance, a practice that is taken for granted today. During the time of Pombaline Portugal (1750-77), Portugal was the first state to organize and hold an industrial trade fair. In distinctive political and governmental developments, Portugal's record is more mixed, and this fact suggests that maintaining a government with a functioning rule of law and a pluralist, representative democracy has not been an easy matter in a country that for so long has been one of the poorest and least educated in the West. Portugal's First Republic (1910-26), only the third republic in a largely monarchist Europe (after France and Switzerland), was Western Europe's most unstable parliamentary system in the 20th century. Finally, the authoritarian Estado Novo or "New State" (1926-74) was the longest surviving authoritarian system in modern Western Europe. When Portugal departed from its overseas empire in 1974-75, the descendants, in effect, of Prince Henry the Navigator were leaving the West's oldest empire.
       Portugal's individuality is based mainly on its long history of distinc-tiveness, its intense determination to use any means — alliance, diplomacy, defense, trade, or empire—to be a sovereign state, independent of Spain, and on its national pride in the Portuguese language. Another master factor in Portuguese affairs deserves mention. The country's politics and government have been influenced not only by intellectual currents from the Atlantic but also through Spain from Europe, which brought new political ideas and institutions and novel technologies. Given the weight of empire in Portugal's past, it is not surprising that public affairs have been hostage to a degree to what happened in her overseas empire. Most important have been domestic responses to imperial affairs during both imperial and internal crises since 1415, which have continued to the mid-1970s and beyond. One of the most important themes of Portuguese history, and one oddly neglected by not a few histories, is that every major political crisis and fundamental change in the system—in other words, revolution—since 1415 has been intimately connected with a related imperial crisis. The respective dates of these historical crises are: 1437, 1495, 1578-80, 1640, 1820-22, 1890, 1910, 1926-30, 1961, and 1974. The reader will find greater detail on each crisis in historical context in the history section of this introduction and in relevant entries.
       LAND AND PEOPLE
       The Republic of Portugal is located on the western edge of the Iberian Peninsula. A major geographical dividing line is the Tagus River: Portugal north of it has an Atlantic orientation; the country to the south of it has a Mediterranean orientation. There is little physical evidence that Portugal is clearly geographically distinct from Spain, and there is no major natural barrier between the two countries along more than 1,214 kilometers (755 miles) of the Luso-Spanish frontier. In climate, Portugal has a number of microclimates similar to the microclimates of Galicia, Estremadura, and Andalusia in neighboring Spain. North of the Tagus, in general, there is an Atlantic-type climate with higher rainfall, cold winters, and some snow in the mountainous areas. South of the Tagus is a more Mediterranean climate, with hot, dry, often rainless summers and cool, wet winters. Lisbon, the capital, which has a fifth of the country's population living in its region, has an average annual mean temperature about 16° C (60° F).
       For a small country with an area of 92,345 square kilometers (35,580 square miles, including the Atlantic archipelagos of the Azores and the Madeiras), which is about the size of the state of Indiana in the United States, Portugal has a remarkable diversity of regional topography and scenery. In some respects, Portugal resembles an island within the peninsula, embodying a unique fusion of European and non-European cultures, akin to Spain yet apart. Its geography is a study in contrasts, from the flat, sandy coastal plain, in some places unusually wide for Europe, to the mountainous Beira districts or provinces north of the Tagus, to the snow-capped mountain range of the Estrela, with its unique ski area, to the rocky, barren, remote Trás-os-Montes district bordering Spain. There are extensive forests in central and northern Portugal that contrast with the flat, almost Kansas-like plains of the wheat belt in the Alentejo district. There is also the unique Algarve district, isolated somewhat from the Alentejo district by a mountain range, with a microclimate, topography, and vegetation that resemble closely those of North Africa.
       Although Portugal is small, just 563 kilometers (337 miles) long and from 129 to 209 kilometers (80 to 125 miles) wide, it is strategically located on transportation and communication routes between Europe and North Africa, and the Americas and Europe. Geographical location is one key to the long history of Portugal's three overseas empires, which stretched once from Morocco to the Moluccas and from lonely Sagres at Cape St. Vincent to Rio de Janeiro, Brazil. It is essential to emphasize the identity of its neighbors: on the north and east Portugal is bounded by Spain, its only neighbor, and by the Atlantic Ocean on the south and west. Portugal is the westernmost country of Western Europe, and its shape resembles a face, with Lisbon below the nose, staring into the
       Atlantic. No part of Portugal touches the Mediterranean, and its Atlantic orientation has been a response in part to turning its back on Castile and Léon (later Spain) and exploring, traveling, and trading or working in lands beyond the peninsula. Portugal was the pioneering nation in the Atlantic-born European discoveries during the Renaissance, and its diplomatic and trade relations have been dominated by countries that have been Atlantic powers as well: Spain; England (Britain since 1707); France; Brazil, once its greatest colony; and the United States.
       Today Portugal and its Atlantic islands have a population of roughly 10 million people. While ethnic homogeneity has been characteristic of it in recent history, Portugal's population over the centuries has seen an infusion of non-Portuguese ethnic groups from various parts of Europe, the Middle East, and Africa. Between 1500 and 1800, a significant population of black Africans, brought in as slaves, was absorbed in the population. And since 1950, a population of Cape Verdeans, who worked in menial labor, has resided in Portugal. With the influx of African, Goan, and Timorese refugees and exiles from the empire—as many as three quarters of a million retornados ("returned ones" or immigrants from the former empire) entered Portugal in 1974 and 1975—there has been greater ethnic diversity in the Portuguese population. In 2002, there were 239,113 immigrants legally residing in Portugal: 108,132 from Africa; 24,806 from Brazil; 15,906 from Britain; 14,617 from Spain; and 11,877 from Germany. In addition, about 200,000 immigrants are living in Portugal from eastern Europe, mainly from Ukraine. The growth of Portugal's population is reflected in the following statistics:
       1527 1,200,000 (estimate only)
       1768 2,400,000 (estimate only)
       1864 4,287,000 first census
       1890 5,049,700
       1900 5,423,000
       1911 5,960,000
       1930 6,826,000
       1940 7,185,143
       1950 8,510,000
       1960 8,889,000
       1970 8,668,000* note decrease
       1980 9,833,000
       1991 9,862,540
       1996 9,934,100
       2006 10,642,836
       2010 10,710,000 (estimated)

    Historical dictionary of Portugal > Introduction

  • 10 career break

    HR
    a planned interruption to working life, usually for a predetermined period of time. A career break is usually designed either to aid career development or to enable somebody to balance work and family life. It may take the form of parental leave, or a sabbatical for study, research, or exploring alternative activities. A career break may be sanctioned by an employer or taken without the support of an employer.

    The ultimate business dictionary > career break

  • 11 Lauste, Eugène Augustin

    [br]
    b. 1857 Montmartre, France d. 1935
    [br]
    French inventor who devised the first practicable sound-on-film system.
    [br]
    Lauste was a prolific inventor who as a 22-year-old had more than fifty patents to his name. He joined Edison's West Orange Laboratory as Assistant to W.K.L. Dickson in 1887; he was soon involved in the development of early motion pictures, beginning an association with the cinema that was to dominate the rest of his working life. He left Edison in 1892 to pursue an interest in petrol engines, but within two years he returned to cinematography, where, in association with Major Woodville Latham, he introduced small but significant improvements to film-projection systems. In 1900 an interest in sound recording, dating back to his early days with Edison, led Lauste to begin exploring the possibility of recording sound photographically on film alongside the picture. In 1904 he moved to England, where he continued his experiments, and by 1907 he had succeeded in photographing a sound trace and picture simultaneously, each image occupying half the width of the film.
    Despite successful demonstrations of Lauste's system on both sides of the Atlantic, he enjoyed no commercial success. Handicapped by lack of capital, his efforts were finally brought to an end by the First World War. In 1906 Lauste had filed a patent for his sound-on-film system, which has been described by some authorities as the master patent for talking pictures. Although this claim is questionable, he was the first to produce a practicable scund-on-film system and establish the basic principles that were universally followed until the introduction of magnetic sound.
    [br]
    Bibliography
    11 August 1906, with Robert R.Haines and John S.Pletts, British Patent no. 18,057 (sound-on-film system).
    Further Reading
    The most complete accounts of Lauste's work and the history of sound films can be found in the Journal of the Society of Motion Picture (and Television) Engineers.
    For an excellent account of Lauste's work, see the Report of the Historical Committee, 1931, Journal of the Society of Motion Picture Engin eers 16 (January):105–9; and Merritt Crawford, 1941, Journal of the Society of Motion Picture Engineers, 17 (October) 632–44.
    For good general accounts of the evolution of sound in the cinema, see: E.I.Sponable, 1947, Journal of the Society of Motion Picture Engineers 48:275–303 and 407–22; E.W.Kellog, 1955, Journal of the Society of Motion Picture Engineers 64:291–302 and 356–74.
    JW

    Biographical history of technology > Lauste, Eugène Augustin

  • 12 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

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