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1 human counter
summary counter — накапливающий счетчик; суммирующий счетчик
total counter — итоговый счетчик; счетчик контрольной суммы
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2 human counter
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3 human counter
мед.фраз. счетчик для определения радиоактивности в организме человека* * * -
4 human counter
• uređaj za merenje radioaktivno; uređaj za merenje radioaktivnosti u ljudskom organizmu -
5 human counter
Ganzkörperzähler, GanzkörpermeßanlageEnglish-German dictionary of labour protection > human counter
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6 human counter
antroporadiómetroEnglish-Spanish dictionary of labour protection > human counter
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7 human counter
счетчик для измерения радиоактивности всего тела, счетчик для определения радиоактивности в организме человека; спектрометр излучения человекаEnglish-Russian dictionary of labour protection > human counter
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8 human counter
счетчик для измерения радиоактивности всего тела, счетчик для определения радиоактивности в организме человека; спектрометр излучения человека -
9 human counter
anthroporadiamètre, corpo-compteur, installation de spectrométrie humaineEnglish-French dictionary of labour protection > human counter
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10 human
1. adjectivethe human race — die menschliche Rasse
2. nounI'm only human — ich bin auch nur ein Mensch
Mensch, der* * *['hju:mən] 1. adjective(of, natural to, concerning, or belonging to, mankind: human nature; The dog was so clever that he seemed almost human.) menschlich2. noun(a person: Humans are not as different from animals as we might think.) der Mensch- humanly- human being
- human resources* * *hu·man[ˈhju:mən]I. n Mensch mII. adj behaviour, skeleton menschlichto form a \human chain eine Menschenkette bildento be beyond \human power nicht in der Macht des Menschen liegen\human relationships/sexuality die Beziehungen/die Sexualität des Menschen* * *['hjuːmən]1. adjmenschlich; health, brain, part of the body des Menschennot fit for human consumption — zum Verzehr (durch den Menschen) ungeeignet
these footprints certainly aren't human — diese Fußspuren sind or stammen sicher nicht von Menschen
2. nMensch m* * *human [ˈhjuːmən]1. menschlich, Menschen…:I am only human ich bin auch nur ein Mensch;they’re only human too die kochen auch nur mit Wasser;that’s only human das ist doch menschlich;human being Mensch m;human chain Menschenkette f;human counter Human Counter m (der Strahlenschutzüberwachung dienendes Messgerät zur Bestimmung der vom menschlichen Körper aufgenommenen und wieder abgegebenen Strahlung);human dignity Menschenwürde f;human engineering Human Engineering n, Anthropotechnik f (Teilgebiet der Industrieanthropologie, das sich mit der Anpassung technischer Einrichtungen und Abläufe an die physischen, psychischen und sozialen Erfordernisse des Menschen befasst);human error menschliches Versagen;human flesh Menschenfleisch n;human history die Geschichte der Menschheit;human immunodeficiency virus MED humanes Immunschwächevirus;human-interest story ergreifende oder ein menschliches Schicksal behandelnde Geschichte;human medicine Humanmedizin f;human nature die menschliche Natur;it’s only human nature to do sth es ist nur allzu menschlich oder es liegt ganz einfach in der menschlichen Natur, etwas zu tun;human race Menschengeschlecht n;a) zwischenmenschliche Beziehungen,b) Human Relations, Kontaktpflege f;human rights Menschenrechte;human rights activist Menschenrechtler(in);human rights organization Menschenrechtsorganisation f;B s Mensch m* * *1. adjective 2. nounMensch, der* * *adj.human adj.menschlich adj. -
11 counter-tenor
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12 human body counter
norm <nucl.i&c> ■ Ganzkörperzähler m -
13 man
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14 unit
организационная единица; боевая единица (напр. корабль, ЛА танк); подразделение; часть; соединение; расчетно-снабженческая единица; секция; орган; элемент; комплект; агрегат; установка; см. тж. elementbulk petrol (transport) unit — Бр. часть [подразделение] подвоза наливного (бестарного) горючего
counter C3 unit — часть [подразделение] подавления системы оперативного управления и связи
Fleet Marine (Corps) reconnaissance unit — разведывательное подразделение [часть] флотских сил МП
multisensor (AA) firing unit 3PK — с приборным комплексом из нескольких систем обнаружения и сопровождения
photo (graphic) reconnaissance unit — фоторазведывательная часть [подразделение]
surface-launched unit, fuel air explosive — установка дистанционного разминирования объемным взрывом
surface-launched unit, mine — установка дистанционного минирования
tactical (air) control unit — часть [подразделение] управления ТА
war (time) strength (TOE) unit — часть, укомплектованная по штатам военного времени
— air unit— ASA unit— BM unit— border operation unit— car unit— depot support unit— dry unit— EW unit— GM unit— host country unit— HQ unit— logistics support unit— manpack radio unit— marksmanship training unit— mechanized infantry unit— missile-armed unit— nuclear weapon unit— provisional unit— QM unit— Rangers unit— supported unit— TOE unit— transportation unit— truck transport unit— van unit— wet unit* * *1) часть; 2) единица -
15 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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16 head
руководитель имя существительное:кочан (head, loaf)верхняя часть (head, topping)набалдашник (knob, head)шляпка гвоздя (head, nail-head)имя прилагательное: глагол: -
17 Logic
My initial step... was to attempt to reduce the concept of ordering in a sequence to that of logical consequence, so as to proceed from there to the concept of number. To prevent anything intuitive from penetrating here unnoticed, I had to bend every effort to keep the chain of inference free of gaps. In attempting to comply with this requirement in the strictest possible way, I found the inadequacy of language to be an obstacle. (Frege, 1972, p. 104)I believe I can make the relation of my 'conceptual notation' to ordinary language clearest if I compare it to the relation of the microscope to the eye. The latter, because of the range of its applicability and because of the ease with which it can adapt itself to the most varied circumstances, has a great superiority over the microscope. Of course, viewed as an optical instrument it reveals many imperfections, which usually remain unnoticed only because of its intimate connection with mental life. But as soon as scientific purposes place strong requirements upon sharpness of resolution, the eye proves to be inadequate.... Similarly, this 'conceptual notation' is devised for particular scientific purposes; and therefore one may not condemn it because it is useless for other purposes. (Frege, 1972, pp. 104-105)To sum up briefly, it is the business of the logician to conduct an unceasing struggle against psychology and those parts of language and grammar which fail to give untrammeled expression to what is logical. He does not have to answer the question: How does thinking normally take place in human beings? What course does it naturally follow in the human mind? What is natural to one person may well be unnatural to another. (Frege, 1979, pp. 6-7)We are very dependent on external aids in our thinking, and there is no doubt that the language of everyday life-so far, at least, as a certain area of discourse is concerned-had first to be replaced by a more sophisticated instrument, before certain distinctions could be noticed. But so far the academic world has, for the most part, disdained to master this instrument. (Frege, 1979, pp. 6-7)There is no reproach the logician need fear less than the reproach that his way of formulating things is unnatural.... If we were to heed those who object that logic is unnatural, we would run the risk of becoming embroiled in interminable disputes about what is natural, disputes which are quite incapable of being resolved within the province of logic. (Frege, 1979, p. 128)[L]inguists will be forced, internally as it were, to come to grips with the results of modern logic. Indeed, this is apparently already happening to some extent. By "logic" is not meant here recursive function-theory, California model-theory, constructive proof-theory, or even axiomatic settheory. Such areas may or may not be useful for linguistics. Rather under "logic" are included our good old friends, the homely locutions "and," "or," "if-then," "if and only if," "not," "for all x," "for some x," and "is identical with," plus the calculus of individuals, event-logic, syntax, denotational semantics, and... various parts of pragmatics.... It is to these that the linguist can most profitably turn for help. These are his tools. And they are "clean tools," to borrow a phrase of the late J. L. Austin in another context, in fact, the only really clean ones we have, so that we might as well use them as much as we can. But they constitute only what may be called "baby logic." Baby logic is to the linguist what "baby mathematics" (in the phrase of Murray Gell-Mann) is to the theoretical physicist-very elementary but indispensable domains of theory in both cases. (Martin, 1969, pp. 261-262)There appears to be no branch of deductive inference that requires us to assume the existence of a mental logic in order to do justice to the psychological phenomena. To be logical, an individual requires, not formal rules of inference, but a tacit knowledge of the fundamental semantic principle governing any inference; a deduction is valid provided that there is no way of interpreting the premises correctly that is inconsistent with the conclusion. Logic provides a systematic method for searching for such counter-examples. The empirical evidence suggests that ordinary individuals possess no such methods. (Johnson-Laird, quoted in Mehler, Walker & Garrett, 1982, p. 130)The fundamental paradox of logic [that "there is no class (as a totality) of those classes which, each taken as a totality, do not belong to themselves" (Russell to Frege, 16 June 1902, in van Heijenoort, 1967, p. 125)] is with us still, bequeathed by Russell-by way of philosophy, mathematics, and even computer science-to the whole of twentieth-century thought. Twentieth-century philosophy would begin not with a foundation for logic, as Russell had hoped in 1900, but with the discovery in 1901 that no such foundation can be laid. (Everdell, 1997, p. 184)Historical dictionary of quotations in cognitive science > Logic
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18 C-HUMINT
Военный термин: Counter Human Resources Intelligence -
19 CHATS
1) Военный термин: COUNTER-INTELLIGENCE/ HUMAN-INTELLIGENCE AUTOMATED TOOL SET2) Химическое оружие: Chemical agent transfer system -
20 HSC
1) Общая лексика: Higher Secondary Certificate (Bangladesh)2) Биология: жирозапасающая клетка, звёздчатая клетка печени, клетка Ито, липоцит3) Военный термин: Hardware Systems Command, Health Services Command, High Speed Craft, high-speed communications5) Автомобильный термин: high swirl combustion, система помощи при старте на наклонной поверхности (сокр. от "Hill Start Control")6) Грубое выражение: Huge Steaming Crap7) Телекоммуникации: Hierarchical Storage Controller, High Speed Connect8) Сокращение: Health and Safety Commission, Heavy Stores Carrier, House Space Committee, Human Systems Center (Brooks AFB, Texas, USA), hermetic sealed container, horizon scanner9) Вычислительная техника: HTML Sucks Completely (HTML, Amiga), High-speed Counter10) Иммунология: hemopoietic stem cell11) Биотехнология: hematopoietic stem cell12) Фирменный знак: Henk's Soundtrack Corner13) Образование: Higher School Certificate14) Автоматика: high-speed cutting15) Макаров: high sulfur coal16) Расширение файла: HSC tracker 2-op FM music file, High Speed Channel17) Хобби: Horse Showing Club
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