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81 Krylov, Alexei Nicolaevitch
SUBJECT AREA: Ports and shipping[br]b. 15 August 1863 Visyoger, Siberiad. 26 October 1945 Leningrad (now St Petersburg), Russia[br]Russian academician and naval architect) exponent of a rigorous mathematical approach to the study of ship motions.[br]After schooling in France and Germany, Krylov returned to St Petersburg (as it then was) and in 1878 entered the Naval College. Upon graduating, he started work with the Naval Hydrographic Department; the combination of his genius and breadth of interest became apparent, and from 1888 until 1890 he undertook simultaneously a two-year university course in mathematics and a naval architecture course at his old college. On completion of his formal studies, Krylov commenced fifty years of service to the academic bodies of St Petersburg, including eight years as Superintendent of the Russian Admiralty Ship Model Experiment Tank. For many years he was Professor of Naval Architecture in the city, reorganizing the methods of teaching of his profession in Russia. It was during this period that he laid the foundations of his remarkable research and published the first of his many books destined to become internationally accepted in the fields of waves, rolling, ship motion and vibration. Practical work was not overlooked: he was responsible for the design of many vessels for the Imperial Russian Navy, including the battleships Sevastopol and Petropavlovsk, and went on, as Director of Naval Construction, to test anti-rolling tanks aboard military vessels in the North Atlantic in 1913. Following the Revolution, Krylov was employed by the Soviet Union to re-establish scientific links with other European countries, and on several occasions he acted as Superintendent in the procurement of important technical material from overseas. In 1919 he was appointed Head of the Marine Academy, and from then on participated in many scientific conferences and commissions, mainly in the shipbuilding field, and served on the Editorial Board of the well-respected Russian periodical Sudostroenie (Shipbuilding). The breadth of his personal research was demonstrated by the notable contributions he made to the Russian development of the gyro compass.[br]Principal Honours and DistinctionsMember, Russian Academy of Science 1814. Royal Institution of Naval Architects Gold Medal 1898. State Prize of the Soviet Union (first degree). Stalin Premium for work on compass deviation.BibliographyKrylov published more than 500 books, papers and articles; these have been collected and published in twelve volumes by the Academy of Sciences of the USSR. 1942, My Memories (autobiography).AK / FMWBiographical history of technology > Krylov, Alexei Nicolaevitch
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82 Scott de Martinville, Edouard-Léon
SUBJECT AREA: Recording[br]b. 25 April 1817 Paris, Franced. 29 April 1879 Paris, France[br]French amateur phonetician, who developed a recorder for sound waves.[br]He was the descendant of a Scottish family who emigrated to France in 1688. He trained as a printer and later became a proof corrector in printing houses catering predominantly for scientific publishers. He became interested in shorthand systems and eventually turned his interest to making a permanent record of sounds in air. At the time it was already known (Young, Duhamel, Wertheim) to record vibrations of bodies. He made a theoretical study and deposited under sealed wrapper a note in the Académie des Sciences on 26 January 1857. He approached the scientific instrument maker Froment and was able to pay for the manufacture of one instrument due to support from the Société d'Encouragement à l'Industrie Nationale. This funding body obtained a positive report from the physicist Lissajous on 6 January 1858. A new model phonautograph was constructed in collaboration with the leading scientific instrument maker in Paris at the time, Rudolph Koenig, and a contract was signed in 1859. The instrument was a success, and Koenig published a collection of traces in 1864.Although the membrane was parallel to the rotating surface, a primitive lever system generated lateral movements of a bristle which scratched curves in a thin layer of lampblack on the rotating surface. The curves were not necessarily representative of the vibrations in the air. Scott did not imagine the need for reproducing a recorded sound; rather, his intention was to obtain a trace that would lend itself to mathematical analysis and visual recognition of sounds. Obviously the latter did not require the same degree of linearity as the former. When Scott learned that similar apparatus had been built independently in the USA, he requested that his sealed wrapper be opened on 15 July 1861 in order to prove his scientific priority. The contract with Koenig left Scott without influence over his instrument, and eventually he became convinced that everyone else, including Edison in the end, had stolen his invention. Towards the end of his life he became interested mainly in the history of printing, and he was involved in the publishing of a series of books about books.[br]Bibliography25 March 1857, amended 29 July 1859, French patent no. 31,470.Further ReadingP.Charbon, 1878, Scott de Martinville, Paris: Hifi Stereo, pp. 199–205 (a good biography produced at the time of the centenary of the Edison phonograph).V.J.Philips, 1987, Waveforms, Bristol: Adam Hilger, pp. 45–8 (provides a good account of the importance of his contributions to accurate measurements of temporal phenomena).GB-NBiographical history of technology > Scott de Martinville, Edouard-Léon
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83 Shannon, Claude Elwood
[br]b. 30 April 1916 Gaylord, Michigan, USA[br]American mathematician, creator of information theory.[br]As a child, Shannon tinkered with radio kits and enjoyed solving puzzles, particularly crypto-graphic ones. He graduated from the University of Michigan in 1936 with a Bachelor of Science in mathematics and electrical engineering, and earned his Master's degree from the Massachusetts Institute of Technology (MIT) in 1937. His thesis on applying Boolean algebra to switching circuits has since been acclaimed as possibly the most significant this century. Shannon earned his PhD in mathematics from MIT in 1940 with a dissertation on the mathematics of genetic transmission.Shannon spent a year at the Institute for Advanced Study in Princeton, then in 1941 joined Bell Telephone Laboratories, where he began studying the relative efficiency of alternative transmission systems. Work on digital encryption systems during the Second World War led him to think that just as ciphers hide information from the enemy, "encoding" information could also protect it from noise. About 1948, he decided that the amount of information was best expressed quantitatively in a two-value number system, using only the digits 0 and 1. John Tukey, a Princeton colleague, named these units "binary digits" (or, for short, "bits"). Almost all digital computers and communications systems use such on-off, or two-state logic as their basis of operation.Also in the 1940s, building on the work of H. Nyquist and R.V.L. Hartley, Shannon proved that there was an upper limit to the amount of information that could be transmitted through a communications channel in a unit of time, which could be approached but never reached because real transmissions are subject to interference (noise). This was the beginning of information theory, which has been used by others in attempts to quantify many sciences and technologies, as well as subjects in the humanities, but with mixed results. Before 1970, when integrated circuits were developed, Shannon's theory was not the preferred circuit-and-transmission design tool it has since become.Shannon was also a pioneer in the field of artificial intelligence, claiming that computing machines could be used to manipulate symbols as well as do calculations. His 1953 paper on computers and automata proposed that digital computers were capable of tasks then thought exclusively the province of living organisms. In 1956 he left Bell Laboratories to join the MIT faculty as Professor of Communications Science.On the lighter side, Shannon has built many devices that play games, and in particular has made a scientific study of juggling.[br]Principal Honours and DistinctionsNational Medal of Science. Institute of Electrical and Electronics Engineers Medal of Honor, Kyoto Prize.BibliographyHis seminal paper (on what has subsequently become known as information theory) was entitled "The mathematical theory of communications", first published in Bell System Technical Journal in 1948; it is also available in a monograph (written with Warren Weaver) published by the University of Illinois Press in 1949, and in Key Papers in the Development of Information Theory, ed. David Slepian, IEEE Press, 1974, 1988. For readers who want all of Shannon's works, see N.J.A.Sloane and A.D.Wyner, 1992, TheCollected Papers of Claude E.Shannon.HO -
84 IPA
k.r(Ilmu Pasti /Alam) mathematical and natural sciences. -
85 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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86 Математический институт им. В.А. Стеклова Академии наук СССР
abbrev. МИАНV.A. Steklov Mathematical Institute, Academy of Sciences of the USSRРусско-английский словарь по математике > Математический институт им. В.А. Стеклова Академии наук СССР
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87 МИАН
abbrev. for Математический институт им. В.А. Стеклова Академии наук СССРV.A. Steklov Mathematical Institute, Academy of Sciences of the USSR -
88 ОМЕН
abbrev. for отделение математических и естественных наук -
89 отделение математических и естественных наук
Русско-английский словарь по математике > отделение математических и естественных наук
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90 химическое производство
химическое производство
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[ http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]EN
chemical engineering
The branch of engineering concerned with industrial manufacture of chemical products. It is a discipline in which the principles of mathematical, physical and natural sciences are used to solve problems in applied chemistry. Chemical engineers design, develop, and optimise processes and plants, operate them, manage personnel and capital, and conduct research necessary for new developments. Through their efforts, new petroleum products, plastics, agricultural chemicals, house-hold products, pharmaceuticals, electronic and advanced materials, photographic materials, chemical and biological compounds, various food and other products evolve. (Source: USTa)
[http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]Тематики
EN
DE
FR
Русско-немецкий словарь нормативно-технической терминологии > химическое производство
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91 génie chimique
химическое производство
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[ http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]EN
chemical engineering
The branch of engineering concerned with industrial manufacture of chemical products. It is a discipline in which the principles of mathematical, physical and natural sciences are used to solve problems in applied chemistry. Chemical engineers design, develop, and optimise processes and plants, operate them, manage personnel and capital, and conduct research necessary for new developments. Through their efforts, new petroleum products, plastics, agricultural chemicals, house-hold products, pharmaceuticals, electronic and advanced materials, photographic materials, chemical and biological compounds, various food and other products evolve. (Source: USTa)
[http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]Тематики
EN
DE
FR
Франко-русский словарь нормативно-технической терминологии > génie chimique
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92 Chemotechnik
химическое производство
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[ http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]EN
chemical engineering
The branch of engineering concerned with industrial manufacture of chemical products. It is a discipline in which the principles of mathematical, physical and natural sciences are used to solve problems in applied chemistry. Chemical engineers design, develop, and optimise processes and plants, operate them, manage personnel and capital, and conduct research necessary for new developments. Through their efforts, new petroleum products, plastics, agricultural chemicals, house-hold products, pharmaceuticals, electronic and advanced materials, photographic materials, chemical and biological compounds, various food and other products evolve. (Source: USTa)
[http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]Тематики
EN
DE
FR
Немецко-русский словарь нормативно-технической терминологии > Chemotechnik
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93 химическое производство
химическое производство
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[ http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]EN
chemical engineering
The branch of engineering concerned with industrial manufacture of chemical products. It is a discipline in which the principles of mathematical, physical and natural sciences are used to solve problems in applied chemistry. Chemical engineers design, develop, and optimise processes and plants, operate them, manage personnel and capital, and conduct research necessary for new developments. Through their efforts, new petroleum products, plastics, agricultural chemicals, house-hold products, pharmaceuticals, electronic and advanced materials, photographic materials, chemical and biological compounds, various food and other products evolve. (Source: USTa)
[http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]Тематики
EN
DE
FR
Русско-английский словарь нормативно-технической терминологии > химическое производство
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94 химическое производство
химическое производство
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[ http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]EN
chemical engineering
The branch of engineering concerned with industrial manufacture of chemical products. It is a discipline in which the principles of mathematical, physical and natural sciences are used to solve problems in applied chemistry. Chemical engineers design, develop, and optimise processes and plants, operate them, manage personnel and capital, and conduct research necessary for new developments. Through their efforts, new petroleum products, plastics, agricultural chemicals, house-hold products, pharmaceuticals, electronic and advanced materials, photographic materials, chemical and biological compounds, various food and other products evolve. (Source: USTa)
[http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]Тематики
EN
DE
FR
Русско-французский словарь нормативно-технической терминологии > химическое производство
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95 chemical engineering
химическое производство
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[ http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]EN
chemical engineering
The branch of engineering concerned with industrial manufacture of chemical products. It is a discipline in which the principles of mathematical, physical and natural sciences are used to solve problems in applied chemistry. Chemical engineers design, develop, and optimise processes and plants, operate them, manage personnel and capital, and conduct research necessary for new developments. Through their efforts, new petroleum products, plastics, agricultural chemicals, house-hold products, pharmaceuticals, electronic and advanced materials, photographic materials, chemical and biological compounds, various food and other products evolve. (Source: USTa)
[http://www.eionet.europa.eu/gemet/alphabetic?langcode=en]Тематики
EN
DE
FR
Англо-русский словарь нормативно-технической терминологии > chemical engineering
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