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121 Cartwright, Revd Edmund
[br]b. 24 April 1743 Marnham, Nottingham, Englandd. 30 October 1823 Hastings, Sussex, England[br]English inventor of the power loom, a combing machine and machines for making ropes, bread and bricks as well as agricultural improvements.[br]Edmund Cartwright, the fourth son of William Cartwright, was educated at Wakefield Grammar School, and went to University College, Oxford, at the age of 14. By special act of convocation in 1764, he was elected Fellow of Magdalen College. He married Alice Whitaker in 1772 and soon after was given the ecclesiastical living of Brampton in Derbyshire. In 1779 he was presented with the living of Goadby, Marwood, Leicestershire, where he wrote poems, reviewed new works, and began agricultural experiments. A visit to Matlock in the summer of 1784 introduced him to the inventions of Richard Arkwright and he asked why weaving could not be mechanized in a similar manner to spinning. This began a remarkable career of inventions.Cartwright returned home and built a loom which required two strong men to operate it. This was the first attempt in England to develop a power loom. It had a vertical warp, the reed fell with the weight of at least half a hundredweight and, to quote Gartwright's own words, "the springs which threw the shuttle were strong enough to throw a Congreive [sic] rocket" (Strickland 19.71:8—for background to the "rocket" comparison, see Congreve, Sir William). Nevertheless, it had the same three basics of weaving that still remain today in modern power looms: shedding or dividing the warp; picking or projecting the shuttle with the weft; and beating that pick of weft into place with a reed. This loom he proudly patented in 1785, and then he went to look at hand looms and was surprised to see how simply they operated. Further improvements to his own loom, covered by two more patents in 1786 and 1787, produced a machine with the more conventional horizontal layout that showed promise; however, the Manchester merchants whom he visited were not interested. He patented more improvements in 1788 as a result of the experience gained in 1786 through establishing a factory at Doncaster with power looms worked by a bull that were the ancestors of modern ones. Twenty-four looms driven by steam-power were installed in Manchester in 1791, but the mill was burned down and no one repeated the experiment. The Doncaster mill was sold in 1793, Cartwright having lost £30,000, However, in 1809 Parliament voted him £10,000 because his looms were then coming into general use.In 1789 he began working on a wool-combing machine which he patented in 1790, with further improvements in 1792. This seems to have been the earliest instance of mechanized combing. It used a circular revolving comb from which the long fibres or "top" were. carried off into a can, and a smaller cylinder-comb for teasing out short fibres or "noils", which were taken off by hand. Its output equalled that of twenty hand combers, but it was only relatively successful. It was employed in various Leicestershire and Yorkshire mills, but infringements were frequent and costly to resist. The patent was prolonged for fourteen years after 1801, but even then Cartwright did not make any profit. His 1792 patent also included a machine to make ropes with the outstanding and basic invention of the "cordelier" which he communicated to his friends, including Robert Fulton, but again it brought little financial benefit. As a result of these problems and the lack of remuneration for his inventions, Cartwright moved to London in 1796 and for a time lived in a house built with geometrical bricks of his own design.Other inventions followed fast, including a tread-wheel for cranes, metallic packing for pistons in steam-engines, and bread-making and brick-making machines, to mention but a few. He had already returned to agricultural improvements and he put forward suggestions in 1793 for a reaping machine. In 1801 he received a prize from the Board of Agriculture for an essay on husbandry, which was followed in 1803 by a silver medal for the invention of a three-furrow plough and in 1805 by a gold medal for his essay on manures. From 1801 to 1807 he ran an experimental farm on the Duke of Bedford's estates at Woburn.From 1786 until his death he was a prebendary of Lincoln. In about 1810 he bought a small farm at Hollanden near Sevenoaks, Kent, where he continued his inventions, both agricultural and general. Inventing to the last, he died at Hastings and was buried in Battle church.[br]Principal Honours and DistinctionsBoard of Agriculture Prize 1801 (for an essay on agriculture). Society of Arts, Silver Medal 1803 (for his three-furrow plough); Gold Medal 1805 (for an essay on agricultural improvements).Bibliography1785. British patent no. 1,270 (power loom).1786. British patent no. 1,565 (improved power loom). 1787. British patent no. 1,616 (improved power loom).1788. British patent no. 1,676 (improved power loom). 1790, British patent no. 1,747 (wool-combing machine).1790, British patent no. 1,787 (wool-combing machine).1792, British patent no. 1,876 (improved wool-combing machine and rope-making machine with cordelier).Further ReadingM.Strickland, 1843, A Memoir of the Life, Writings and Mechanical Inventions of Edmund Cartwright, D.D., F.R.S., London (remains the fullest biography of Cartwright).Dictionary of National Biography (a good summary of Cartwright's life). For discussions of Cartwright's weaving inventions, see: A.Barlow, 1878, The History and Principles of Weaving by Hand and by Power, London; R.L. Hills, 1970, Power in the Industrial Revolution, Manchester. F.Nasmith, 1925–6, "Fathers of machine cotton manufacture", Transactions of theNewcomen Society 6.H.W.Dickinson, 1942–3, "A condensed history of rope-making", Transactions of the Newcomen Society 23.W.English, 1969, The Textile Industry, London (covers both his power loom and his wool -combing machine).RLHBiographical history of technology > Cartwright, Revd Edmund
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122 for that matter
1) чтo кacaeтcя этoгo, в этoм oтнoшeнииHe's a thoroughly good fellow, trustworthy and sensible; so is Bailey, for that matter; and they both know how to hold their tongues (E. L. Voymch). He fought as long as anybody did, and followed the directions given him to the letter. For that matter so did they all (E. L Voymch)2) вдoбaвoк, к тoму жe, включaя; кcтaти cкaзaть; ecли нa тo пoшлoAfter all you haven't done her any harm in this instance. Nor has Tollifer for that matter (Th. Dreiser). All right, Father. I'll do it. I'll just say that the whole thing was a conspiracy against West and Cummin and me too, for that matter (F. Hardy) -
123 kauhaga more
tumor of the inguinal glands. In ancient times those who suffered from such tumours, because of war injuries, were useless for rejoining the fight, for fear of being wounded again. A wider meaning has been given to this word: fear caused by a guilty conscience, viz tagata kauhaga more, e-ma'e-no, e-aga-aga tahaga-nó; is an expression which refers to a man who has a guilty conscience and, imagining (e-ma'a-nó) that others talk about him, behaves accordingly (e-aga-aga tahaga-nó), for instance, blaming others or constantly asking about rumours. -
124 object flow state
"In an activity diagram, a state that defines an object flow between actions. An object flow state signifies the availability of an instance of a classifier in a given state, usually as the result of an operation." -
125 One time
"A data limit plan where users purchase upfront a quota of data for a given time. For instance, pre-paid 500MB which expire in 6 months." -
126 ἀπέχω
ἀπέχω 2 aor. ἀπέσχον; pf. 3 sg. ἀπέσχηκεν LXX; fut. mid. ἀφέξομαι; aor. ἀπεσχόμην LXX; inf. ἀποσχέσθαι; pf. 1 pl. ἀπεσχήμεθα 1 Km 21:6 al. (Hom.+; ins, pap, LXX, En, TestAbr A, Test12Patr; ParJer 7:37; Philo, Joseph., Just., Ath.).① to receive in full what is due, to be paid in full, receive in full, act., commercial t.t. = ‘provide a receipt for a sum paid in full’, used both lit. and fig. (Callim., Epigr. 50, 4 [Pf.] of a nurse who receives thanks in the form of a memorial; SIG2 845, 7 [200 B.C.] τὰν τιμὰν ἀπέχει; M. Ant. 9, 42 ἀπέχει τὸ ἴδιον. Oft. pap and ostraca; s. Dssm., NB 56 [BS 229]; LO 88ff [LAE 110f]; Erman, APF 1, 1901, 77ff; Mayser 487; O. Wilck I 86; Nägeli 54f; Anz 318f; Gen 43:23; Num 32:19; Jos., Bell. 1, 596 ἀ. τῆς ἀσεβείας τὸ ἐπιτίμιον) τὸν μισθόν (Plut., Sol. 90 [22, 4], Mor. 334a) Mt 6:2, 5, 16; τὴν παράκλησιν Lk 6:24; πάντα Phil 4:18; τὸ τέλειον τῆς γνώσεως perfect knowledge B 13:7; ἀ. τὴν ἀποκάλυψιν to have received the revelation Hv 3, 13, 4.—Sim. Phlm 15 ἵνα αἰώνιον αὐτὸν ἀπέχῃς that you might have him back forever (opp. χωρίζεσθαι πρὸς ὥραν). Some would here put the difficult impers. ἀπέχει in the sense the account is closed Mk 14:41; s. JdeZwaan, Exp. 6th ser., 12, 1905, 459–72, who takes the informant of vs. 42 as the subj. he has received the money. S. 2 and 3.② to meet the need of the moment, to suffice, be enough, Vulg. has for ἀπέχει Mk 14:41 ‘sufficit’ it is enough, which is supported by some comparatively late evidence (Anacreontea Carmina 16, 33 [Preis., West, Campbell]; PStras 4, 19 note [550 A.D.]; PLond 1343, 38 [709 A.D.] dub. l.) and is followed in numerous translations, incl. REV, NRSV (‘Enough!’); that the expression is not found in this sense in other lit. is not surprising, for it is a colloquialism that emerges, as in the case of the Anacreontea, in dramatic statement. In this instance, as w. ἀπελπίζω (Lk 6:35) q.v., context is a strong semantic determinant.③ The rather freq. expr. οὐδὲν ἀπέχει=‘nothing hinders’ (Pla., Cra. 23 p. 407b; Plut., Mor. 433a; 680e) would suggest for ἀπέχει in Mk 14:41 that is a hindrance (referring to the extreme drowsiness of the disciples at the decisive moment). But s. 1 and 2.—Ms. D has ἀ. τὸ τέλος this is the end (B-D-F §129; JWackernagel, Syntax. I2 [1926] 119. Cp. Kaibel 259, 4 [II A.D.] ἀπέσχε τέλος [=death]. MBlack, An Aramaic Approach, ’46, 16f, suggests an Aram. background).—GBoobyer, NTS 2, ’55, 44–48 ‘he (Judas) is taking possession of’ me.④ to be at some distance from a position, be distant, intr. (Hdt. et al.; PStras 57, 6; PLille 1, 5; 2, 2; Jos., Ant. 5, 161; Just., A I, 34, 2; Ath. 32, 1) αὐτοῦ μακρὰν ἀπέχοντος when he was still far away Lk 15:20 (Diod S 12, 33, 4 μακρὰν ἀπ.; Gen 44:4; Jo 4:8; En 32:2). W. indication of the place from which (as 1 Macc 8:4; 2 Macc 11:5) οὐ μακρὰν ἀπέχων ἀπὸ τ. οἰκίας being not far fr. the house Lk 7:6; cp. MPol 5:1; of a ship at some distance from the land Mt 14:24 (as Michel 466, 9 ἀπέχον ἀπὸ τῆς γῆς). W. the exact distance given (so since Thu. 2, 5, 2) κώμη ἀπέχουσα σταδίους ἑξήκοντα ἀπὸ Ἰερουσαλήμ sixty stades fr. Jerusalem Lk 24:13 (Demetr. of Kallatis [200 B.C.]: 85 Fgm. 2 Jac. ἀπεχούσης τῆς νήσου ἀπὸ τῆς ἠπείρου σταδίους υ´. Cp. the comic poet Euphro [III B.C.] 11, 3 Kock; Appian, Ital. 5 §1; 2 Macc 12:29; Jos., Bell. 2, 516; Just., A I, 34, 2).—Fig. πόρρω ἀ. ἀπό τινος (=רָחַק מִן) be far from someone Mt 15:8; Mk 7:6 (both Is 29:13); so also PEg2 57f.⑤ to avoid contact w. or use of someth., keep away, abstain, refrain from mid. w. gen. of thing (Hom. et al.; SIG 768, 16 [31 B.C.]; PHerm 52, 21; StudPal V, 52, 21; 1 Esdr 6:26; Wsd 2:16; σου PsSol 8:32; τούτου TestAbr A 2 p. 79, 8 [Stone p. 6]; Jos., Bell. 2, 581, Ant. 11, 101; Just., A II, 7, 7 al.; Ath.) εἰδωλοθύτων καὶ αἵματος καὶ πνικτῶν καὶ πορνείας abstain fr. things offered to idols, blood, things strangled, and irregular sexual union Ac 15:29 (s. Lev 18:6–30), cp. vs. 20 (s. αἷμα 1b). πάσης ἀδικίας (Hyperid., Fgm. 210 τ. ἀδικημάτων; SIG 1268 I, 18 [III B.C.] κακίας ἀπέχου; Ath. 1, 2 τοῦ ἀδικεῖν) Pol 2:2; cp. 6:1, 3; Hv 1, 2, 4; 2, 2, 3; 3, 8, 4; m 3:5; Dg 4:6. τῶν κακῶν βοτανῶν IPhld 3:1; cp. ITr 6:1. βρωμάτων 1 Ti 4:3. εὐχαριστίας κ. προσευχῆς keep away fr. the Lord’s Supper and prayer ISm 7:1; the response to those who absent themselves from the Lord’s meal is to discontinue social relations with them, vs. 2 (Schol. Pl. Euthyphr. 2 A ἀπέχεσθαι μυστηρίων=remain aloof from the Mysteries). τῶν σαρκικῶν ἐπιθυμιῶν 1 Pt 2:11; D 1:4. τῆς γλώσσης= control the tongue Hv 2, 2, 3. λατρείας Dg 3:2.—W. ἀπό τινος (oft. LXX; En 104:6; TestAbr A 4 p. 81, 4 [Stone p. 10]; EpArist 143; w. ἐκ ParJer 7:37 [7, 32 Harris]): ἀπὸ τῆς πορνείας 1 Th 4:3; cp. Ac 15:20 (v.l. ἀπό); ἀπὸ παντὸς εἴδους πονηροῦ fr. every kind of evil 1 Th 5:22. ἀπὸ παντὸς κακοῦ 1 Cl 17:3 (Job 1:1, 8; 2:3). ἀπέχεσθε ἀπὸ τ. ἀνθρώπων keep hands off the men Ac 5:39 D.—Pol 5:3; Hm 2:3; 4, 1, 3 and 9; 5, 1, 7; 5, 2, 8; 7:3; 9:12; 11:4, 8, 21; 12, 1, 3; 12, 2, 2; Hs 4:5.—DELG s.v. ἔχω. M-M. TW. Spicq. -
127 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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128 צלף
צְלָףm. caper-bush. Maasr. IV, 6 הצ׳ מתעשרוכ׳ of the caper-tree the tithes must be given of the palm-like shoots, of the fruit, and of the flower (v. Löw, Pfl., p. 26 4); Ber.36a (identical with נִצְפָּה). B. Bath.28b אכלה … כגון צ׳ if one partook of three products of the same tree within three days, as for instance of the caper-bush. Sabb.30b אחוי ליה צ׳ he pointed by way of an example to the caper-bush (of which the various products are eaten successively). Ib. 150b, v. נִצְפָּה. Bets.25b; a. fr.Pl. צְלָפִים, צְלָפִין. Sabb.110a מי צ׳ caper-juice.
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