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identical validity

  • 1 одинаковая юридическая сила

    Универсальный русско-английский словарь > одинаковая юридическая сила

  • 2 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

  • 3 Psychology

       We come therefore now to that knowledge whereunto the ancient oracle directeth us, which is the knowledge of ourselves; which deserveth the more accurate handling, by how much it toucheth us more nearly. This knowledge, as it is the end and term of natural philosophy in the intention of man, so notwithstanding it is but a portion of natural philosophy in the continent of nature.... [W]e proceed to human philosophy or Humanity, which hath two parts: the one considereth man segregate, or distributively; the other congregate, or in society. So as Human philosophy is either Simple and Particular, or Conjugate and Civil. Humanity Particular consisteth of the same parts whereof man consisteth; that is, of knowledges which respect the Body, and of knowledges that respect the Mind... how the one discloseth the other and how the one worketh upon the other... [:] the one is honored with the inquiry of Aristotle, and the other of Hippocrates. (Bacon, 1878, pp. 236-237)
       The claims of Psychology to rank as a distinct science are... not smaller but greater than those of any other science. If its phenomena are contemplated objectively, merely as nervo-muscular adjustments by which the higher organisms from moment to moment adapt their actions to environing co-existences and sequences, its degree of specialty, even then, entitles it to a separate place. The moment the element of feeling, or consciousness, is used to interpret nervo-muscular adjustments as thus exhibited in the living beings around, objective Psychology acquires an additional, and quite exceptional, distinction. (Spencer, 1896, p. 141)
       Kant once declared that psychology was incapable of ever raising itself to the rank of an exact natural science. The reasons that he gives... have often been repeated in later times. In the first place, Kant says, psychology cannot become an exact science because mathematics is inapplicable to the phenomena of the internal sense; the pure internal perception, in which mental phenomena must be constructed,-time,-has but one dimension. In the second place, however, it cannot even become an experimental science, because in it the manifold of internal observation cannot be arbitrarily varied,-still less, another thinking subject be submitted to one's experiments, comformably to the end in view; moreover, the very fact of observation means alteration of the observed object. (Wundt, 1904, p. 6)
       It is [Gustav] Fechner's service to have found and followed the true way; to have shown us how a "mathematical psychology" may, within certain limits, be realized in practice.... He was the first to show how Herbart's idea of an "exact psychology" might be turned to practical account. (Wundt, 1904, pp. 6-7)
       "Mind," "intellect," "reason," "understanding," etc. are concepts... that existed before the advent of any scientific psychology. The fact that the naive consciousness always and everywhere points to internal experience as a special source of knowledge, may, therefore, be accepted for the moment as sufficient testimony to the rights of psychology as science.... "Mind," will accordingly be the subject, to which we attribute all the separate facts of internal observation as predicates. The subject itself is determined p. 17) wholly and exclusively by its predicates. (Wundt, 1904,
       The study of animal psychology may be approached from two different points of view. We may set out from the notion of a kind of comparative physiology of mind, a universal history of the development of mental life in the organic world. Or we may make human psychology the principal object of investigation. Then, the expressions of mental life in animals will be taken into account only so far as they throw light upon the evolution of consciousness in man.... Human psychology... may confine itself altogether to man, and generally has done so to far too great an extent. There are plenty of psychological text-books from which you would hardly gather that there was any other conscious life than the human. (Wundt, 1907, pp. 340-341)
       The Behaviorist began his own formulation of the problem of psychology by sweeping aside all medieval conceptions. He dropped from his scientific vocabulary all subjective terms such as sensation, perception, image, desire, purpose, and even thinking and emotion as they were subjectively defined. (Watson, 1930, pp. 5-6)
       According to the medieval classification of the sciences, psychology is merely a chapter of special physics, although the most important chapter; for man is a microcosm; he is the central figure of the universe. (deWulf, 1956, p. 125)
       At the beginning of this century the prevailing thesis in psychology was Associationism.... Behavior proceeded by the stream of associations: each association produced its successors, and acquired new attachments with the sensations arriving from the environment.
       In the first decade of the century a reaction developed to this doctrine through the work of the Wurzburg school. Rejecting the notion of a completely self-determining stream of associations, it introduced the task ( Aufgabe) as a necessary factor in describing the process of thinking. The task gave direction to thought. A noteworthy innovation of the Wurzburg school was the use of systematic introspection to shed light on the thinking process and the contents of consciousness. The result was a blend of mechanics and phenomenalism, which gave rise in turn to two divergent antitheses, Behaviorism and the Gestalt movement. The behavioristic reaction insisted that introspection was a highly unstable, subjective procedure.... Behaviorism reformulated the task of psychology as one of explaining the response of organisms as a function of the stimuli impinging upon them and measuring both objectively. However, Behaviorism accepted, and indeed reinforced, the mechanistic assumption that the connections between stimulus and response were formed and maintained as simple, determinate functions of the environment.
       The Gestalt reaction took an opposite turn. It rejected the mechanistic nature of the associationist doctrine but maintained the value of phenomenal observation. In many ways it continued the Wurzburg school's insistence that thinking was more than association-thinking has direction given to it by the task or by the set of the subject. Gestalt psychology elaborated this doctrine in genuinely new ways in terms of holistic principles of organization.
       Today psychology lives in a state of relatively stable tension between the poles of Behaviorism and Gestalt psychology.... (Newell & Simon, 1963, pp. 279-280)
       As I examine the fate of our oppositions, looking at those already in existence as guide to how they fare and shape the course of science, it seems to me that clarity is never achieved. Matters simply become muddier and muddier as we go down through time. Thus, far from providing the rungs of a ladder by which psychology gradually climbs to clarity, this form of conceptual structure leads rather to an ever increasing pile of issues, which we weary of or become diverted from, but never really settle. (Newell, 1973b, pp. 288-289)
       The subject matter of psychology is as old as reflection. Its broad practical aims are as dated as human societies. Human beings, in any period, have not been indifferent to the validity of their knowledge, unconcerned with the causes of their behavior or that of their prey and predators. Our distant ancestors, no less than we, wrestled with the problems of social organization, child rearing, competition, authority, individual differences, personal safety. Solving these problems required insights-no matter how untutored-into the psychological dimensions of life. Thus, if we are to follow the convention of treating psychology as a young discipline, we must have in mind something other than its subject matter. We must mean that it is young in the sense that physics was young at the time of Archimedes or in the sense that geometry was "founded" by Euclid and "fathered" by Thales. Sailing vessels were launched long before Archimedes discovered the laws of bouyancy [ sic], and pillars of identical circumference were constructed before anyone knew that C IID. We do not consider the ship builders and stone cutters of antiquity physicists and geometers. Nor were the ancient cave dwellers psychologists merely because they rewarded the good conduct of their children. The archives of folk wisdom contain a remarkable collection of achievements, but craft-no matter how perfected-is not science, nor is a litany of successful accidents a discipline. If psychology is young, it is young as a scientific discipline but it is far from clear that psychology has attained this status. (Robinson, 1986, p. 12)

    Historical dictionary of quotations in cognitive science > Psychology

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