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81 أساسي
1́ adj. base, essential, fundamental, primordial, radical, basal, principal, main, primal, primary, cardinal, major, leading, substantial, organic, innate, inward, material, staple, formal, imperative, indispensable, momentous, overriding, paramount2́ n. capital, nub, underling -
82 materia
iz.1. matter, material2. ( zornea) pus3. Fis. (Biol.) matter; \materiaren egoerak states of matter; izarretako \materia stellar matter; \materia organiko organic matter -
83 кислота
ж. acidкислота смешивается с водой в любых соотношениях — an acid is miscible with water in all proportions
азотная кислота получается разложением нитрата натрия серной кислотой — nitric acid is made by attack of sulphuric acid on sodium nitrate
Антонимический ряд:1. сладость2. сладости -
84 удобрение
1. с. manure; fertilizerтукодробилка, измельчитель удобрений — fertilizer grinder
отходы, используемые на удобрение — fertilizer material
смеситель удобрений; тукосмеситель — fertilizer mixer
2. с. fertilization, use of fertilizer -
85 Fireproof Cloth
Cotton cloth treated with various chemical solutions is rendered flameproof, but only asbestos is truly fireproof. For fabrics that are not to be washed, sodium tungstate, borax, boric acid, aluminium acetate or sodium silicate are used mixed with some organic salt such as gypsum, chalk, Epsom salts, china clay, alum, etc. For fabrics that are to be washed such as flannelette - A soaking in a solution of sodium stannate and then in a solution of ammonium sulphate, dried and washed, will render the material flameproof. This process forms a more or less insoluble compound on the fibre. Other compounds used are aluminium sulphate and after-treatment with desodium hydrogen phosphate, to form aluminium phosphate on the fibre (see Asbestos cloth) -
86 Carver, George Washington
SUBJECT AREA: Agricultural and food technology[br]b. 1861 USAd. 1943 USA[br]African-American agriculturalist.[br]In 1896 Carver was invited by Booker T.Washington, noted for his efforts to improve the education of African American craftspeople after the Civil War, to join the teaching staff at the Tuskegee Institute, Alabama. Carver became renowned for his innovative work in developing agricultural products, particularly from the peanut, sweet potato and cowpea. He was one of the first agriculturalists of that time to promote the use of organic fertilizers, and he was noted for his work in the hybridization of local plants. In spite of these achievements, his immediate impact on the African American farming community lay in promoting agricultural education and extension work. In 1897 Carver was appointed the first director of the Tuskegee agricultural experiment station. Here, he developed teaching techniques in agricultural education, such as issuing a series of clearly-written information bulletins. He also devised the first mobile school in the American South, which consisted of a farm wagon equipped with educational material and travelled from farm to farm, demonstrating the latest agricultural techniques.Carver was granted only three patents: one in 1923 for a cosmetic and two, in 1925 and 1927, for processes for making pigments.[br]Further ReadingP.P.James, 1989, The Real McCoy: African American Invention and Innovation 2619– 1930, Washington, DC: Smithsonian Institution Press, 69–70.LRDBiographical history of technology > Carver, George Washington
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87 Perkin, Sir William Henry
[br]b. 12 March 1838 London, Englandd. 14 July 1907 Sudbury, England[br]English chemist, discoverer of aniline dyes, the first synthetic dyestuffs.[br]He early showed an aptitude for chemistry and in 1853 entered the Royal College of Chemistry as a student under A.W.von Hofmann, the first Professor at the College. By the end of his first year, he had carried out his first piece of chemical research, on the action of cyanogen chloride on phenylamine, which he published in the Journal of the Chemical Society (1857). He became honorary assistant to von Hofmann in 1857; three years previously he had set up his own chemical laboratory at home, where he had discovered the first of the azo dyes, aminoazonapththalene. In 1856 Perkin began work on the synthesis of quinine by oxidizing a salt of allyl toluidine with potassium dichromate. Substituting aniline, he obtained a dark-coloured precipitate which proved to possess dyeing properties: Perkin had discovered the first aniline dye. Upon receiving favourable reports on the new material from manufacturers of dyestuffs, especially Pullars of Perth, Perkin resigned from the College and turned to the commercial exploitation of his discovery. This proved highly successful. From 1858, the dye was manufactured at his Greenford Green works as "Aniline Purple" or "Tyrian Purple". It was later to be referred to by the French as mauve. Perkin's discovery led to the development of the modern dyestuffs industry, supplanting dyes from the traditional vegetable sources. In 1869, he introduced two new methods for making the red dye alizarin, in place of the process that involved the use of the madder plant (Rubia tinctorum). In spite of German competition, he dominated the British market until the end of 1873. After eighteen years in chemical industry, Perkin retired and devoted himself entirely to the pure chemical research which he had been pursuing since the 1850s. He eventually contributed ninety papers to the Chemical Society and further papers to other bodies, including the Royal Society. For example, in 1867 he published his synthesis of unsaturated organic acids, known as "Perkin's synthesis". Other papers followed, on the structure of "Aniline Purple". In 1881 Perkin drew attention to the magnetic-rotatory power of some of the substances he had been dealing with. From then on, he devoted particular attention to the application of this phenomenon to the determination of chemical structure.Perkin won wide recognition for his discoveries and other contributions to chemistry.The half-centenary of his great discovery was celebrated in July 1906 and later that year he received a knighthood.[br]Principal Honours and DistinctionsKnighted 1906. FRS 1866. President, Chemical Society 1883–5. President, Society of Chemical Industry 1884–5. Royal Society Royal Medal 1879; Davy Medal 1889.Bibliography26 August 1856, British patent no. 1984 (Aniline Purple).1867, "The action of acetic anhydride upon the hydrides of salicyl, etc.", Journal of the Chemical Society 20:586 (the first description of Perkin's synthesis).Further ReadingS.M.Edelstein, 1961, biography in Great Chemists, ed. E.Farber, New York: Interscience, pp. 757–72 (a reliable, short account).R.Meldola, 1908, Journal of the Chemical Society 93:2,214–57 (the most detailed account).LRDBiographical history of technology > Perkin, Sir William Henry
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88 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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89 пластмассовые отходы
пластмассовые отходы
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plastic waste
Any discarded plastic (organic, or synthetic, material derived from polymers, resins or cellulose) generated by any industrial process, or by consumers. (Source: APD)
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Русско-английский словарь нормативно-технической терминологии > пластмассовые отходы
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90 удобрение почвы
удобрение почвы
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soil fertilisation
The application of any organic or inorganic material of natural or synthetic origins to a soil to supply one or more elements essential to the growth of plants. (Source: DUNSTE)
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Русско-английский словарь нормативно-технической терминологии > удобрение почвы
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91 черный уголь
черный уголь
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black coal
A natural black graphitelike material used as a fuel, formed from fossilized plants and consisting of amorphous carbon with various organic and some inorganic compounds. (Source: AMHER)
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Русско-английский словарь нормативно-технической терминологии > черный уголь
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