-
1 light stimulation
Большой англо-русский и русско-английский словарь > light stimulation
-
2 light stimulation
Англо-русский словарь технических терминов > light stimulation
-
3 light stimulation
Техника: стимуляция светом -
4 hourly light stimulation
Сельское хозяйство: ежечасное световое стимулированиеУниверсальный англо-русский словарь > hourly light stimulation
-
5 stimulation
-
6 stimulation
[ˌstɪmjə'leɪʃ(ə)n]сущ.1)а) толчок, побуждение, стимул, подталкивание (к какому-л. действию)Syn:б) поощрениеThey need not stimulation, but repression. — Им нужно не поощрение, а жёсткие меры.
2) возбуждение, стимуляция; стимулированиеerotic / sexual stimulation — эротическое, сексуальное возбуждение
3) тех. интенсификация ( добычи) -
7 stimulation receptor
-
8 light receptor
The English-Russian dictionary general scientific > light receptor
-
9 стимуляция светом
Большой англо-русский и русско-английский словарь > стимуляция светом
-
10 стимуляция светом
Англо-русский словарь технических терминов > стимуляция светом
-
11 Langmuir, Irving
[br]b. 31 January 1881 Brooklyn, New York, USAd. 16 August 1957 Falmouth, Massachusetts, USA[br]American Nobel Prize winner in chemistry in 1932 who was responsible for a number of important scientific developments ranging from electric lamps, through a high-vacuum transmitting tube (for broadcasting) to a high-vacuum mercury pump for studies in atomic structure, in radar and the stimulation of artificial rainfall.[br]Langmuir took a degree in metallurgical engineering at Columbia University School of Mines, and then a PhD in chemistry at Göttingen University in Germany. For much of his life he carried out research in physical chemistry at the General Electric Research Laboratory at Schenechtady, New York, where he remained until his retirement in 1950. One important result of his work there led to a great improvement in artificial illumination of homes. This was his development in 1913 of a much more efficient electric light bulb, which was filled with argon gas and had a coiled filament. The idea of using an inert gas was an old one, but it was not a viable proposition until a filament that could be coiled became available. Overall, Langmuir's lamp was more reliable than previous designs and gave a brighter light.[br]Further ReadingArthur A.Bright, 1949, The Electric Lamp Industry, New York: Macmillan. Floyd A.Lewis, 1961, The Incandescent Light, New York: Shorewood.DY -
12 oil
-
13 stimulus
['stimjuləs]plural - stimuli; noun1) (something that causes a reaction in a living thing: Light is the stimulus that causes a flower to open.) stimulus2) (something that rouses or encourages a person etc to action or greater effort: Many people think that children need the stimulus of competition to make them work better in school.) stimulation -
14 photoelectric receptor
The English-Russian dictionary general scientific > photoelectric receptor
-
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
См. также в других словарях:
Light therapy — Intervention Bright light therapy is a common treatment for seasonal affective disorder and for circadian rhythm disorders. ICD 10 PCS … Wikipedia
light — light1 lightful, adj. lightfully, adv. /luyt/, n., adj., lighter, lightest, v., lighted or lit, lighting. n. 1. something that makes things visible or affords illumination: All colors depend on light. 2. Physics … Universalium
light — I. noun Etymology: Middle English, from Old English lēoht; akin to Old High German lioht light, Latin luc , lux light, lucēre to shine, Greek leukos white Date: before 12th century 1. a. something that makes vision possible b. the sensation… … New Collegiate Dictionary
light — I [[t]laɪt[/t]] n. adj. light•er, light•est, 1) something that makes things visible or affords illumination: All colors depend on light[/ex] 2) phs a) electromagnetic radiation to which the organs of sight react, ranging in wavelength from about… … From formal English to slang
light — That portion of electromagnetic radiation (between 390 and 770 nm) to which the retina is sensitive (wavelength range of 380–780 nm). SEE ALSO: lamp. [A.S. leoht] cold l. 1. SYN: bioluminescence (1). 2. fluorescent l. as opposed to incandescent l … Medical dictionary
stimulation — 1. Arousal of the body or any of its parts or organs to increased functional activity. 2. The condition of being stimulated. 3. In neurophysiology, the application of a stimulus to a responsive structure, such as a nerve or muscle, regardless of… … Medical dictionary
Light Amplification by Stimulated Emission of Radiation — Dieser Artikel wurde aufgrund von inhaltlichen Mängeln auf der Qualitätssicherungsseite des Portals Physik eingetragen. Dies geschieht, um die Qualität der Artikel aus dem Themengebiet Physik auf ein akzeptables Niveau zu bringen. Dabei werden… … Deutsch Wikipedia
consensual light reflex — stimulation of one eye by light produces a reflex response in the opposite pupil … Medical dictionary
Transcranial magnetic stimulation — For other uses, see TMS (disambiguation). Transcranial magnetic stimulation Intervention rTMS in a rod … Wikipedia
Sexual stimulation — is any stimulus that leads to sexual arousal or orgasm. The term often implies stimulation of the genitals but may also include stimulation of other areas of the body, stimulation of the senses (such as sight or hearing), and mental stimulation… … Wikipedia
emergency light reflex — contraction of the pupils, closure of the eyelids, and lowering of the eyebrows.upon excessive stimulation of the retina by light … Medical dictionary