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  • 1 concevoir

    concevoir [kɔ̃s(ə)vwaʀ]
    ➭ TABLE 28 transitive verb
       a. ( = penser) to imagine ; [+ fait, concept, idée] to conceive of
       b. ( = élaborer) [+ voiture, maison, produit] to design ; [+ solution, projet, moyen] to devise
    • bien/mal conçu [projet, livre] well/badly thought out ; [voiture, maison] well/badly designed
       d. ( = comprendre) to understand
       e. [+ enfant] to conceive
    * * *
    kɔ̃s(ə)vwaʀ
    1.
    1) ( élaborer) to design [produit, projet]

    bien/mal conçu — well/badly designed

    2) ( procréer) to conceive [enfant]
    3) ( comprendre) to understand
    4) ( considérer) to see ( comme as)
    5) ( ressentir) fml to conceive [haine]; to have [doute]

    2.
    se concevoir verbe pronominal
    1) ( être imaginable) to be conceivable
    2) ( être compréhensible) to be understandable
    * * *
    kɔ̃s(ə)vwaʀ
    1. vt
    1) [idée, projet] to conceive, to conceive of
    2) [méthode, plan d'appartement, décoration] to plan, to design

    maison bien conçue — well-designed house, well-planned house

    maison mal conçue — badly-designed house, badly-planned house

    3) [enfant] to conceive
    2. vi
    [femme] to conceive
    * * *
    concevoir verb table: recevoir
    A vtr
    1 ( élaborer) to design [produit, système, projet] (pour qch for sth; pour faire to do); conçu et réalisé par designed and produced by; un système conçu comme flexible a system which is designed to be adaptable; notre hôtel a d'abord été conçu comme une maison we wanted our hotel to be first and foremost a home; bien/mal conçu well/badly designed; conçu en ces termes phrased in these terms;
    2 ( procréer) to conceive [enfant];
    3 ( comprendre) to understand [attitude, réaction]; on conçoit tout à fait que it is perfectly understandable that; je conçois très bien que I fully understand why; je ne conçois pas de faire I cannot conceive of ou imagine having to do;
    4 Philos to form [idée]; concevoir une entité to form an idea of an entity;
    5 ( considérer) to see [phénomène, activité] (comme as); concevoir la politique comme un métier to see politics as a job; la rencontre a été conçue comme une première étape the meeting was envisaged as a first step;
    6 ( ressentir) fml to conceive [haine]; to have [doute].
    1 ( être imaginable) to be conceivable; l'avenir ne se conçoit pas sans lui the future is inconceivable without him;
    2 ( être compréhensible) [attitude, réaction] to be understandable; cela se conçoit aisément this is quite understandable;
    3 ( s'élaborer) to be designed; se concevoir sur ordinateur to be designed on a computer.
    [kɔ̃s(ə)vwar] verbe transitif
    1. [avoir une notion de] to conceive of (inseparable), to form a notion of
    2. [imaginer] to imagine, to conceive of (inseparable)
    3. [comprendre] to understand, to see
    cela vous est difficile, je le conçois I can (well) understand that it's difficult for you
    4. (littéraire) [ressentir - haine, amitié] to conceive, to develop
    5. [créer - meuble, décor, ouvrage] to design ; [ - plan, programme] to conceive, to devise, to think up (separable)
    parc bien/mal conçu well-/poorly-designed garden
    6. [rédiger - message, réponse] to compose, to couch
    ————————
    se concevoir verbe pronominal

    Dictionnaire Français-Anglais > concevoir

  • 2 begreifen

    (unreg.)
    I v/t
    1. understand; intellektuell: auch grasp; (Metaphysisches etc.) auch apprehend; hast du das endlich begriffen? have you got that into your head?; hast du mich begriffen? do I make myself clear?; begreif doch endlich, was hier gespielt wird! just try to understand what’s going on here!; ich begann zu begreifen, dass... I began to realize that...; es ist kaum zu begreifen it’s almost incomprehensible; das kann ich eben nicht begreifen that’s what I can’t understand; das begreife, wer will it makes no sense to me
    2. (ansehen) see; jemanden / etw. als etw. begreifen see s.o. / s.th. as s.th., view s.o. / s.th. as s.th.
    3. geh., altm. (einschließen) include; etw. in sich (Dat) begreifen include s.th.
    4. Dial. (anfassen) touch
    II v/i understand, catch on umg.; schnell / langsam begreifen be quick / slow on the uptake
    III v/refl: sich als jemanden / etw. begreifen see o.s. as s.o. / s.th.
    * * *
    das Begreifen
    conception; uptake
    * * *
    be|grei|fen ptp begri\#ffen [bə'grɪfn] irreg
    1. vt
    1) (= verstehen) to understand; Aufgabe, Problemstellung, Zusammenhang to understand, to grasp, to comprehend; jdn, jds Handlung or Haltung to understand, to comprehend; Sinn, Notwendigkeit, (Schwierigkeit einer) Lage auch to see, to appreciate

    er begriff nicht, worum es ging — he didn't understand or comprehend what it was about

    es ist kaum zu begréífen — it's almost incomprehensible

    es lässt sich leicht begréífen, dass... — it's easy to understand that...

    wie kann man Gott/die Unendlichkeit begréífen? — how can one comprehend God/infinity?

    2) (= auffassen, interpretieren) to view, to see
    3)

    (geh: = einschließen) begréífen — to encompass or include sth

    4) (dial = anfassen) to touch
    2. vi
    to understand, to comprehend

    leicht or schnell begréífen — to be quick on the uptake

    schwer or langsam begréífen — to be slow on the uptake

    3. vr
    to be understandable

    eine solche Tat lässt sich nicht leicht begréífen — such an action cannot be easily understood

    See:
    → auch begriffen
    * * *
    1) (to understand.) apprehend
    2) (to understand.) comprehend
    3) (to imagine: I can't conceive why you did that.) conceive
    4) (to understand: I can't grasp what he's getting at.) grasp
    * * *
    be·grei·fen *
    I. vt
    ▪ etw \begreifen to understand sth; (erfassen) to comprehend sth
    hast du es endlich begriffen? have you grasped it [or fam got the hang of it] at last?
    kaum zu \begreifen sein to be incomprehensible
    ich begreife nicht ganz, was du damit meinst I don't quite get what you're driving at
    ich begreife nicht, wie man so dumm sein kann I don't understand how someone can be so stupid
    ▪ \begreifen, dass... to realize that...
    begreifst du denn nicht, dass das keinen Sinn hat? don't you realize [or can't you see] there's no sense in that?
    er begriff langsam, dass sie ihn verlassen hatte he began to comprehend [or it began to sink in] that she had left him
    2. (Verständnis haben)
    ▪ jdn/etw \begreifen to understand sb
    begreife das, wer will! that's [or it's] beyond [or that beats] me!
    3. (für etw halten)
    ▪ etw als etw \begreifen to regard [or see] [or view] sth as sth
    II. vi (verstehen) to understand, to comprehend
    begriffen? understood?, got it? fam
    langsam/schnell \begreifen to be slow/quick on the uptake
    III. vr
    sich akk selbst nicht \begreifen [können] to be incomprehensible [to sb]
    ich begreife mich selbst nicht, wie konnte ich das nur zulassen? it is incomprehensible to me how I could have allowed that
    ▪ sich akk als etw \begreifen to consider [or see] oneself to be sth
    * * *
    1.
    unregelmäßiges transitives Verb
    1) understand; understand, grasp, comprehend <connection, problem, meaning>

    er konnte nicht begreifen, was geschehen war — he could not grasp what had happened

    das begreife, wer will — it's beyond me

    2) (geh.): (betrachten) regard, see ( als as)
    2.
    intransitives Verb understand

    schnell od. leicht/langsam od. schwer begreifen — be quick/ slow on the uptake; be quick/slow to grasp things

    * * *
    begreifen (irr)
    A. v/t
    1. understand; intellektuell: auch grasp; (Metaphysisches etc) auch apprehend;
    hast du das endlich begriffen? have you got that into your head?;
    hast du mich begriffen? do I make myself clear?;
    begreif doch endlich, was hier gespielt wird! just try to understand what’s going on here!;
    ich begann zu begreifen, dass … I began to realize that …;
    es ist kaum zu begreifen it’s almost incomprehensible;
    das kann ich eben nicht begreifen that’s what I can’t understand;
    das begreife, wer will it makes no sense to me
    2. (ansehen) see;
    jemanden/etwas als etwas begreifen see sb/sth as sth, view sb/sth as sth
    3. geh, obs (einschließen) include;
    begreifen include sth
    4. dial (anfassen) touch
    B. v/i understand, catch on umg;
    schnell/langsam begreifen be quick/slow on the uptake
    C. v/r:
    sich als jemanden/etwas begreifen see o.s. as sb/sth
    * * *
    1.
    unregelmäßiges transitives Verb
    1) understand; understand, grasp, comprehend <connection, problem, meaning>

    er konnte nicht begreifen, was geschehen war — he could not grasp what had happened

    das begreife, wer will — it's beyond me

    2) (geh.): (betrachten) regard, see ( als as)
    2.
    intransitives Verb understand

    schnell od. leicht/langsam od. schwer begreifen — be quick/ slow on the uptake; be quick/slow to grasp things

    * * *
    n.
    comprehension n.

    Deutsch-Englisch Wörterbuch > begreifen

  • 3 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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