-
1 interlocking pattern
Англо-русский словарь промышленной и научной лексики > interlocking pattern
-
2 способ укладки груза на поддоне вперевязку
Engineering: interlocking pattern, pinwheel arrangementУниверсальный русско-английский словарь > способ укладки груза на поддоне вперевязку
-
3 схема укладки в перевязку
Engineering: interlocking pattern (груза на поддоне)Универсальный русско-английский словарь > схема укладки в перевязку
-
4 схема укладки вперевязку
Engineering: interlocking pattern (груза на поддоне)Универсальный русско-английский словарь > схема укладки вперевязку
-
5 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
-
6 расстановка сейсмоприёмников
1) Geology: spread line2) Engineering: geophone arrangement, geophone array, geophone layout, geophone setup, geophone spread3) Construction: spread (при которой регистрируется сейсмограмма одного взрыва)4) Oil: array of seismometers, array spray, detector array, detector layout, detector pattern, detector spread, jug line, receiver array, receiver spread, seismometer spread5) Geophysics: array, spread line ( broadside, cross, end-on, offset, fan shooting, interlocking, reversed) (непродольная, крестовая, фланговая, выносная, веерная, увязанную в взаимных точках, встречная)Универсальный русско-английский словарь > расстановка сейсмоприёмников
-
7 Straßengefährdung begehen
Straßengefährdung begehen
to render a highway dangerous;
• Straßengüterverkehr transport of goods by road (Br.), highway transportation, motor-truck transport (US);
• Straßenhandel street sale (trading), hawking;
• Straßenhändler street trader (seller, vendor), pedlar (Br.), peddler, hawker, costermonger, handseller, roadman, curbstoner (US), pitchman (US coll.);
• Straßenhändler mit Billigware fakir (US);
• Straßeninstandhaltung, Straßeninstandsetzung street repairs, road maintenance (mending);
• Straßeninstandsetzungsarbeiten road repairs;
• Straßeninterview man-in-the-street interview;
• Straßenkabotage road cabotage;
• Straßenkontrollpunkt checkpoint;
• Straßenkostenbeitrag paving rate;
• Straßenkreuzung road junction, street crossing, crossroad, intersection (US);
• Straßenkundgebung street demonstration;
• Straßenmeisterei highway depot;
• Straßennetz road system (net[work]), grid;
• Straßenneubau construction of new streets;
• Straßennutzungsgebühren road pricing;
• Straßenquadrat block [of buildings];
• Straßenraub highway robbery, latrocinium, mugging (fam.);
• Straßenreklame outdoor advertising (publicity);
• Straßensammlung street collection;
• Straßenseite roadside, wayside;
• auf der anderen Straßenseite over the street;
• auf der falschen Straßenseite fahren to drive on the wrong side of the road;
• Straßensicherheit road safety, safety on the roads;
• Straßensperre road block, barricade;
• Straßensperrung blocking (closing) a road, obstruction of a highway;
• Straßenspinne multiple road junction;
• Straßenstand roadside stand (US);
• Straßensystem road system, street pattern;
• zusammenhängendes Straßensystem interlocking network of roads;
• Straßentauglichkeitsprüfung roadworthiness test;
• Straßentransport road transport (Br.), carriage by road, haulage;
• im Straßentransport by road;
• Straßenüberführung crossover, viaduct, dry bridge (US), flyover (Br.);
• verkehrswidrige Straßenüberquerung jay-walking (coll.);
• Straßenumleitung diversion, detour (US);
• Straßenunterführung fly-under, underpass, undercrossing;
• Straßenunterhaltsabgabe highway rate (Br.);
• Straßenunterhaltung upkeep of roads, road maintenance;
• Straßenverbesserung improvement in roads, road improvements;
• Straßenverkauf hawking, peddling, street sale;
• Straßenverkäufer huckster, street trader (seller, vendor), frontsman (Br.);
• Straßenverkaufsstand kiosk, roadside stand (US);
• Straßenverkehr street (road, highway) traffic, road transport.Business german-english dictionary > Straßengefährdung begehen
-
8 зона
area, band, belt, field, range, region, section, space, zone* * *зо́на ж.1. area; zone; band; range2. ( на магнитной ленте) recordакти́вная зо́на ( ядерного реактора) — fuel [fissile, nuclear, reacting] core, active sectionзо́на аэропо́рта — airport zoneвале́нтная зо́на — valence bandзо́на ви́димости — visibility range, visibility zoneвихрева́я зо́на — eddy zoneзо́на воспламене́ния тепл. — ignition zoneзо́на воспроизво́дства ( ядерного реактора) — breeding blanketвыбросоопа́сная зо́на — outburst zoneзо́на вы́держки ( металла в печи) — soaking [holding] zoneзо́на вытя́гивания текст. — drafting zoneзо́на генера́ции клистро́на — (диапазон напряжений отражателя, при которых клистрон генерирует) voltage mode; ( конструктивная часть отражательного клистрона) resonator gapзо́на горе́ния — combustion zoneзо́на группирова́ния ( в ускорителе частиц) — bunching sectionзо́на де́йствия РЛС по вертика́ли — vertical coverageзо́на де́йствия РЛС по да́льности — range coverageзо́на де́йствия РЛС по углу́ ме́ста — elevation coverageзо́на де́йствия телефо́нной ста́нции — central office [exchange] areaзо́на де́йствия централизацио́нной устано́вки ж.-д. — interlocking limitsдутьева́я зо́на тепл. — pressure zoneзо́на замедле́ния ( ядерного реактора) — slowing-down areaзапо́лненная зо́на элк. — filled bandзапре́тная зо́на — prohibited zoneзапре́тная, возду́шная зо́на — prohibited air area, prohibited air zoneзапрещё́нная зо́на элк. — forbidden zone, forbidden gapзасто́йная зо́на1. (воздуха, жидкости) zone of stagnation, stagnant pocket, stall zone, stall cell2. метал.-об. built-up edge, dig-in zoneзо́на защи́ты эл. — protected zoneзо́на инду́кции — induction zoneзо́на интерфере́нции — interference zoneинфракра́сная, бли́жняя зо́на — near infrared (region)инфракра́сная, да́льняя зо́на — far infrared (region)инфракра́сная, сре́дняя зо́на — middle infrared (region)зо́на испаре́ния — evaporation zoneкоордина́тная зо́на геод. — gore, grid zoneко́рковая зо́на ( слитка) — skin zoneкоро́нная зо́на ( шины или протектора) — crownкраева́я зо́на ( слитка) — rim zoneликвацио́нная зо́на метал. — segregation (range)зо́на максима́льной теплоё́мкости — conversion [transition] zoneмеридиа́нная зо́на — meridional belt, meridional zoneмё́ртвая зо́на1. (регулятора и т. п.) dead band, dead zone2. радио skip zone, zone of silence, skip distanceзо́на молча́ния радио, ак. — skip zone, zone of silence, skip distanceнезапо́лненная зо́на элк. — empty bandзо́на неоднозна́чности вчт. — zone of ambiguityзо́на нечувстви́тельности (регулятора и т. п.) — dead band, dead zoneзо́на нумера́ции тлф. — numbering zoneзо́на обруше́ния го́рных поро́д — rock breakage [caving] zoneзо́на ожида́ния поса́дки ав. — holding zone, holding areaнаходи́ться в зо́не ожида́ния поса́дки — fly a holding patternоколошо́вная зо́на свар. — heat [weld] affected zoneзо́на освещё́нности — illuminated zoneзо́на охлажде́ния пита́теля ( примыкающая к стекловаренной печи) — feeder cooling zoneзо́на перекристаллиза́ции — refined-grain zoneперехо́дная зо́на — conversion [transition] zone; phase-change boiler sectionзо́на плавле́ния свар. — melting zoneподпя́товая зо́на ( в мартеновской печи) — gutter areaзо́на полуте́ни — semi-shadow zoneпризабо́йная зо́на — face zoneзо́на прилипа́ния метал. — stick zoneпри́месная зо́на элк. — extrinsic zone, impurity bandзо́на проводи́мости — conduction bandзо́на прозра́чности фи́льтра — transmission [pass] bandзо́на проплавле́ния свар. — fusion zoneзо́на пропорциона́льности регули́рования — proportional (control) bandзо́на прямо́й ви́димости — line-of-sight rangeравносигна́льная зо́на — equisignal zoneравнофа́зная зо́на — equiphase zoneзо́на размы́тости тлв. — blurring zoneразрешё́нная зо́на элк. — allowed bandзо́на сва́рки — weld area, weld zoneсвобо́дная зо́на элк. — empty bandзо́на скольже́ния ( валков) прок. — zone of slippage, slip zoneзо́на слы́шимости — audibility zoneсу́меречная зо́на — twilight zoneзо́на те́ни — shadow zoneзо́на терми́ческого влия́ния свар. — heat-affected area, heat-affected zoneтоми́льная зо́на ( металла в печи) — soaking [holding] zoneэнергети́ческая зо́на — energy band
См. также в других словарях:
Pattern welding — is the practice in sword and knife making of forming a blade of several metal pieces of differing composition that are forge welded together and twisted and manipulated to form a pattern. Often incorrectly called Damascus steel (which is produced … Wikipedia
pattern — noun 1 arrangement of lines, shapes, sounds, etc. ADJECTIVE ▪ intricate ▪ abstract, geometric ▪ camouflage, floral, striped, etc … Collocations dictionary
ERDL pattern — M65 ERDL Leaf pattern is a camouflage pattern developed by the United States Army at its Engineer Research Development Laboratories (ERDL), in 1948, but first issued to elite reconnaissance and special operations units in early 1967, [cite book | … Wikipedia
food web — Interlocking pattern of food chains in a community; typical food web composed of plants, herbivores, carnivores, omnivores, and detritus feeders … Dictionary of invertebrate zoology
African music — Introduction the musical sounds and practices of all indigenous peoples of Africa, including the Berber in the Sahara and the San (Bushmen) and Khoikhoin (Hottentot) in Southern Africa. The music of European settler communities and that of… … Universalium
Tile — For other uses, see Tile (disambiguation). Decorative tilework in Sheikh Lotf Allah Mosque, Isfahan, Iran early 17th century A tile is a manufactured piece of hard wearing material such as ceramic, stone, metal, or even glass. Tiles are generally … Wikipedia
lighthouse — /luyt hows /, n., pl. lighthouses / how ziz/. 1. a tower or other structure displaying or flashing a very bright light for the guidance of ships in avoiding dangerous areas, in following certain routes, etc. 2. either of two cylindrical metal… … Universalium
Keplok — is a style of clapping used in Javanese gamelan. The clapping is in a specific interlocking rhythmic pattern and is performed by the gerong when they are not singing. It is usually associated with the lively ciblon (Surakarta) or batangan… … Wikipedia
painting, Western — ▪ art Introduction history of Western painting from its beginnings in prehistoric times to the present. Painting, the execution of forms and shapes on a surface by means of pigment (but see also drawing for discussion of depictions in … Universalium
Rise Above (Dirty Projectors album) — Infobox Album | Name = Rise Above Type = Studio album Artist = Dirty Projectors Released = September 11, 2007 Recorded = 2007 Genre = Indie rock Length = 45:41 Label = Dead Oceans Producer = Dave Longstreth, Chris Taylor Reviews = *Allmusic… … Wikipedia
Ecology — For other uses, see Ecology (disambiguation). Ecology … Wikipedia
