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1 original process
Юридический термин: начальный судебный приказ, судебный приказ о явке ответчика в суд -
2 original process
судовий наказ про явку відповідача (підсудного) до суду; початковий судовий наказ -
3 original process
Jur. [U] acte introductif d'instance [ONU]English-French dictionary of law, politics, economics & finance > original process
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4 original process
начальный судебный приказ, судебный приказ о явке ответчика в суд -
5 original process
s.proceso inicial. -
6 process
1) приказ суда, особ. приказ о вызове в суд2) процедура; порядок; производство дел; судопроизводство; процессуальные нормы; судебный процесс | начинать процесс; возбуждать обвинение; преследовать в судебном порядке•process in practice — судебный приказ, изданный в процессе производства по делу;
to process a case — начинать дело; возбуждать обвинение; преследовать в судебном порядке;
to process a charge — возбуждать обвинение;
to process a patent application — рассматривать, подвергать экспертизе заявку на патент;
- process of lawprocess to compel appearance — судебный приказ о явке обвиняемого в суд;
- process of prosecution
- process of the court
- adjudicatory process
- amendable process
- amending process
- appeals process
- appeal process
- arrest process
- bastardy process
- civil process
- compulsory process
- constitutional process
- court processes
- correctional process
- criminal process
- criminal justice process
- due process of law
- enforcement process
- entrance process
- executory process
- extradition process
- final process
- follow-up process
- forged process
- intermediate process
- investigation process
- judicial process
- jury process
- juvenile process
- law enforcement process
- lawful process
- legal process
- legal-correctional process
- legislative process
- mesne process
- nominating process
- original process
- procedural due process of law
- regular process
- regulatory process
- remedial process
- review process
- statutory process
- substantive due process of law
- trustee process
- verbal process
- appellate process
- intervening process -
7 original
1) оригінал, першоджерело2) первинний, первісний, початковий; оригінальний, справжній; початковий•- original act
- original action
- original answer
- original application
- original arbitrators
- original arraignment
- original author
- original bill
- original bill of lading
- original capital
- original cause
- original charge
- original complaint
- original constitution
- original contractor
- original copy
- original country
- original decision
- original detention
- original disposition
- original document
- original domicile
- original edition
- original entry
- original evidence
- original form
- original inhabitant
- original instrument
- original jurisdiction
- original law
- original manuscript
- original of a document
- original order
- original order paper
- original owner
- original ownership
- original patent
- original possession
- original precedent
- original process
- original purchase
- original right
- original source
- original suit
- original supporting document
- original tenor
- original text
- original text of a treaty
- original trial
- original trial court
- original trial ruling -
8 process engraving
1. фотомеханический способ2. изготовление клише фотомеханическим способомEnglish-Russian big polytechnic dictionary > process engraving
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9 cloning is the process of creating an identical copy of the original
Общая лексика: клонирование есть процесс создания точной копии оригиналаУниверсальный англо-русский словарь > cloning is the process of creating an identical copy of the original
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10 Bessemer, Sir Henry
SUBJECT AREA: Metallurgy[br]b. 19 January 1813 Charlton (near Hitchin), Hertfordshire, Englandd. 15 January 1898 Denmark Hill, London, England[br]English inventor of the Bessemer steelmaking process.[br]The most valuable part of Bessemer's education took place in the workshop of his inventor father. At the age of only 17 he went to London to seek his fortune and set himself up in the trade of casting art works in white metal. He went on to the embossing of metals and other materials and this led to his first major invention, whereby a date was incorporated in the die for embossing seals, thus preventing the wholesale forgeries that had previously been committed. For this, a grateful Government promised Bessemer a paid position, a promise that was never kept; recognition came only in 1879 with a belated knighthood. Bessemer turned to other inventions, mainly in metalworking, including a process for making bronze powder and gold paint. After he had overcome technical problems, the process became highly profitable, earning him a considerable income during the forty years it was in use.The Crimean War presented inventors such as Bessemer with a challenge when weaknesses in the iron used to make the cannon became apparent. In 1856, at his Baxter House premises in St Paneras, London, he tried fusing cast iron with steel. Noticing the effect of an air current on the molten mixture, he constructed a reaction vessel or converter in which air was blown through molten cast iron. There was a vigorous reaction which nearly burned the house down, and Bessemer found the iron to be almost completely decarburized, without the slag threads always present in wrought iron. Bessemer had in fact invented not only a new process but a new material, mild steel. His paper "On the manufacture of malleable iron and steel without fuel" at the British Association meeting in Cheltenham later that year created a stir. Bessemer was courted by ironmasters to license the process. However, success was short-lived, for they found that phosphorus in the original iron ore passed into the metal and rendered it useless. By chance, Bessemer had used in his trials pig-iron, derived from haematite, a phosphorus-free ore. Bessemer tried hard to overcome the problem, but lacking chemical knowledge he resigned himself to limiting his process to this kind of pig-iron. This limitation was removed in 1879 by Sidney Gilchrist Thomas, who substituted a chemically basic lining in the converter in place of the acid lining used by Bessemer. This reacted with the phosphorus to form a substance that could be tapped off with the slag, leaving the steel free from this harmful element. Even so, the new material had begun to be applied in engineering, especially for railways. The open-hearth process developed by Siemens and the Martin brothers complemented rather than competed with Bessemer steel. The widespread use of the two processes had a revolutionary effect on mechanical and structural engineering and earned Bessemer around £1 million in royalties before the patents expired.[br]Principal Honours and DistinctionsKnighted 1879. FRS 1879. Royal Society of Arts Albert Gold Medal 1872.Bibliography1905, Sir Henry Bessemer FRS: An Autobiography, London.LRD -
11 Land, Edwin Herbert
SUBJECT AREA: Photography, film and optics[br]b. 7 May 1909 Bridgeport, Connecticut, USAd. 1 March 1991 Cambridge, Massachusetts, USA[br]American scientist and inventor of the Polaroid instant-picture process.[br]Edwin Land's career began when, as a Harvard undergraduate in the late 1920s, he became interested in the possibility of developing a polarizing filter in the form of a thin sheet, to replace the crystal and stacked-glass devices then in use, which were expensive, cumbersome and limited in size. He succeeded in creating a material in which minute anisotropic iodine crystals were oriented in line, producing an efficient polarizer that was patented in 1929. After presenting the result of his researches in a Physics Department colloquium at Harvard, he left to form a partnership with George Wheelwright to manufacture the new material, which was seen to have applications as diverse as anti-glare car headlights, sunglasses, and viewing filters for stereoscopic photographs and films. In 1937 he founded the Polaroid Corporation and developed the Vectograph process, in which self-polarized photographic images could be printed, giving a stereoscopic image when viewed through polarizing viewers. Land's most significant invention, the instant picture, was stimulated by his three-year-old daughter. As he took a snapshot of her, she asked why she could not see the picture at once. He began to research the possibility, and on 21 February 1947 he demonstrated a system of one-step photography at a meeting of the Optical Society of America. Using the principle of diffusion transfer of the image, it produced a photograph in one minute. The Polaroid Land camera was launched on 26 November 1948. The original sepia-coloured images were soon replaced by black and white and, in 1963, by Polacolor instant colour film. The original peel-apart "wet" process was superseded in 1972 with the introduction of the SX-70 camera with dry picture units which developed in the light. The instant colour movie system Polavision, introduced in 1978, was less successful and was one of his few commercial failures.Land died in March 1991, after a career in which he had been honoured by countless scien-tific and academic bodies and had received the Medal of Freedom, the highest civilian honour in America.[br]Principal Honours and DistinctionsMedal of Freedom.BC -
12 Sutton, Thomas
SUBJECT AREA: Photography, film and optics[br]b. 1819 Englandd. 1875 Jersey, Channel Islands[br]English photographer and writer on photography.[br]In 1841, while studying at Cambridge, Sutton became interested in photography and tried out the current processes, daguerreotype, calotype and cyanotype among them. He subsequently settled in Jersey, where he continued his photographic studies. In 1855 he opened a photographic printing works in Jersey, in partnership with L.-D. Blanquart- Evrard, exploiting the latter's process for producing developed positive prints. He started and edited one of the first photographic periodicals, Photographic Notes, in 1856; until its cessation in 1867, his journal presented a fresher view of the world of photography than that given by its London-based rivals. He also drew up the first dictionary of photography in 1858.In 1859 Sutton designed and patented a wideangle lens in which the space between two meniscus lenses, forming parts of a sphere and sealed in a metal rim, was filled with water; the lens so formed could cover an angle of up to 120 degrees at an aperture of f12. Sutton's design was inspired by observing the images produced by the water-filled sphere of a "snowstorm" souvenir brought home from Paris! Sutton commissioned the London camera-maker Frederick Cox to make the Panoramic camera, demonstrating the first model in January 1860; it took panoramic pictures on curved glass plates 152×381 mm in size. Cox later advertised other models in a total of four sizes. In January 1861 Sutton handed over manufacture to Andrew Ross's son Thomas Ross, who produced much-improved lenses and also cameras in three sizes. Sutton then developed the first single-lens reflex camera design, patenting it on 20 August 1961: a pivoted mirror, placed at 45 degrees inside the camera, reflected the image from the lens onto a ground glass-screen set in the top of the camera for framing and focusing. When ready, the mirror was swung up out of the way to allow light to reach the plate at the back of the camera. The design was manufactured for a few years by Thomas Ross and J.H. Dallmeyer.In 1861 James Clerk Maxwell asked Sutton to prepare a series of photographs for use in his lecture "On the theory of three primary colours", to be presented at the Royal Institution in London on 17 May 1861. Maxwell required three photographs to be taken through red, green and blue filters, which were to be printed as lantern slides and projected in superimposition through three projectors. If his theory was correct, a colour reproduction of the original subject would be produced. Sutton used liquid filters: ammoniacal copper sulphate for blue, copper chloride for the green and iron sulphocyanide for the red. A fourth exposure was made through lemon-yellow glass, but was not used in the final demonstration. A tartan ribbon in a bow was used as the subject; the wet-collodion process in current use required six seconds for the blue exposure, about twice what would have been needed without the filter. After twelve minutes no trace of image was produced through the green filter, which had to be diluted to a pale green: a twelve-minute exposure then produced a serviceable negative. Eight minutes was enough to record an image through the red filter, although since the process was sensitive only to blue light, nothing at all should have been recorded. In 1961, R.M.Evans of the Kodak Research Laboratory showed that the red liquid transmitted ultraviolet radiation, and by an extraordinary coincidence many natural red dye-stuffs reflect ultraviolet. Thus the red separation was made on the basis of non-visible radiation rather than red, but the net result was correct and the projected images did give an identifiable reproduction of the original. Sutton's photographs enabled Maxwell to establish the validity of his theory and to provide the basis upon which all subsequent methods of colour photography have been founded.JW / BC -
13 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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14 Bibliography
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(1929). The foundations of science: Science and hypothesis, the value of science, science and method. New York: Science Press.■ Poincareґ, H. (1952). Science and method. F. Maitland (Trans.) New York: Dover.■ Polya, G. (1945). How to solve it. Princeton, NJ: Princeton University Press.■ Polanyi, M. (1958). Personal knowledge. London: Routledge & Kegan Paul.■ Popper, K. (1968). Conjectures and refutations: The growth of scientific knowledge. New York: Harper & Row/Basic Books.■ Popper, K., & J. Eccles (1977). The self and its brain. New York: Springer-Verlag.■ Popper, K. R. (1959). The logic of scientific discovery. London: Hutchinson.■ Putnam, H. (1975). Mind, language and reality: Philosophical papers (Vol. 2). Cambridge: Cambridge University Press.■ Putnam, H. (1987). The faces of realism. LaSalle, IL: Open Court.■ Pylyshyn, Z. W. (1981). The imagery debate: Analog media versus tacit knowledge. In N. Block (Ed.), Imagery (pp. 151-206). Cambridge, MA: MIT Press.■ Pylyshyn, Z. W. 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Cambridge: Cambridge University Press.Historical dictionary of quotations in cognitive science > Bibliography
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15 plate
1. пластина; плита2. стереотип; гальваностереотип; стереотипировать; изготовлять гальваностереотип3. фотопластинка4. наносить гальваническое покрытие5. гравюра; эстамп; вкладная иллюстрация6. экслибрис7. удалять краску с пробельных элементов формы8. вымывать неэкспонированные участки фотоформыadhesive mounted plate — печатная форма, закреплённая приклеиванием
9. алюминиевая офсетная формная пластина10. алюминиевая офсетная печатная формаplate thickness — толщина пластины, толщина печатной формы
11. алюминиевая формная пластина12. алюминиевая печатная формаaqueous-developed plate — печатная форма, получаемая с использованием водного проявления
Ben Day plate — клише, в котором часть элементов изображения создана тангированием
13. изогнутая стереотипная печатная форма14. биметаллическая формная пластина15. биметаллическая печатная формаblank plate — пластина, подготовленная для гравирования
bridge plate — направляющий мостик, направляющая пластина
chalk plate — стальная пластина, покрытая мелом
16. фототипная печатная форма17. фототипная вкладная иллюстрация18. многокрасочная иллюстрация19. клише для многокрасочной печати; цветоделённая печатная формаcolor line plate — гальваностереотип, подлитый способом «колор лайн»
combination halftone-and-line plate — смешанная печатная форма, содержащая растровые и штриховые изображения
computer output printed paper plate — бумажная печатная форма с выходными данными, полученными из ЭВМ
conversion plate — форма глубокой печати, изготовленная с офсетной фотоформы
20. круглый стереотип21. изогнутая печатная формаdata plate — табличка основных параметров; фирменная табличка
deep-etch plate — офсетная печатная форма с углублёнными печатающими элементами, форма глубокого офсета
22. высекальный штамп23. штемпель, штемпельная пластина, штемпельная формаdiffusion transfer plate — форма, полученная способом диффузионного переноса изображения
direct image plate — форма с прямым изображением ; печатная форма, полученная прямым копированием
24. распашная иллюстрация; распашной вкладной лист25. форма для печатания распашной иллюстрацииduplicate plate — дубликат клише, форма-дубликат; вторичная печатная форма, стереотипная печатная форма, стереотип
26. форма, полученная гравированием27. стапельный стол самонаклада28. подающая планка; толкатель самонаклада29. плоская печатная форма30. слабая печатная формаplate copy — копия, полученная с формы
31. слабый диапозитив или негативflexo plate — флексографская печатная форма, форма флексографской печати
32. кассета фальцевальной машины33. сфальцованная иллюстрация34. неподвижный бортик, пластина для долевой загибки ткани35. рабочая пластина переднего упора36. передний упор37. полосная вкладная иллюстрация38. вкладной лист, имеющий формат страницыhalftone plate — растровая печатная форма; растровое клише
halftone color plate — растровое клише для многокрасочной печати; растровая цветоделённая печатная форма
hand-engraved plate — форма глубокой печати, полученная ручным способом
hard edges plate — растровое клише, дающее более тёмное изображение по краям
high speed projection plate — формная пластина высокой светочувствительности для проекционной съёмки
imaged plate — копия, экспонированная формная пластина
image receiving plate — пластина, воспринимающая изображение
ink plate — раскатная плита, красочная плита
laminated plate — ламинированная формная пластина; тонкая листовая форма
line plate — штриховая печатная форма; штриховое клише
39. форма плоской печати40. офсетная формная пластинаlithographic electrostatic printing plate — офсетная печатная форма, изготовленная электростатическим способом
41. магниевая формная пластина42. магниевая печатная формаmagnetic plate — печатная форма с металлической подложкой для крепления на магнитном формном цилиндре
43. эталонная печатная форма44. шрифтоноситель на пластинеminus plate — печатная форма, на которой печатающие элементы расположены ниже непечатающих
45. полиметаллическая формная пластина46. полиметаллическая офсетная форма47. выворотная форма48. формная пластина с негативным копировальным слоем49. печатная форма негативного копирования50. фотополимерная форма высокой печати типа «найлопринт»51. фотополимеризующаяся пластина типа «найлопринт»offset paper plate — бумажная офсетная форма, офсетная форма на гидрофильной бумаге
52. бумажная формная пластина53. бумажная печатная формаpattern plate — оригинальная форма, предназначенная для матрицирования
photodirect plate — бумажная формная пластина с ортохроматическим покрытием на основе галоидного серебра
54. фотополимерная пластина55. фотополимерная печатная форма56. печатная форма, полученная на пластмассовой пластине прямым способом, полимерная печатная формаswash plate — диск, насаженный на ось не под прямым углом
57. пластмассовый стереотипplus plate — печатная форма, на которой печатающие элементы возвышаются над непечатающими
58. диапозитив на фотопластинке59. формная пластина с позитивным копировальным слоемguide plate — направляющая пластина; кондуктор
60. печатная форма позитивного копированияpositive-acting plate — офсетная пластина, имеющая после копирования видимое прямое изображение
positive working printing plate — позитивная формная пластина, формная пластина позитивного копирования
powder etched plate — печатная форма, вытравленная с припудриванием
powderless etched plate — печатная форма, вытравленная без припудривания
pressing plate — прессующая губка, прессующая пластина
press-ready plate — форма, готовая к печати
61. формная пластина62. форма для многокрасочного печатания63. репродукционная фотопластинка64. перфорированная печатная форма; печатная форма с перфорированными краями65. форма с пробитыми приводочными отверстиями66. планка механизма бокового равнения67. металлическая пластина на переднем краю накладного столаregistered plate — форма, установленная в положение точной приводки
68. ребристый стереотип69. ребристая печатная формаscan plate — клише, изготовленное на фотоэлектрогравировальной машине
70. клише, имеющее растр на штрихах и заливках рисунка71. растровое клише72. очувствлённая формная пластина73. светочувствительная фотопластинкаshort-lived plate — печатная форма, имеющая малую тиражестойкость
stereotype plate — стереотип, стереотипная печатная форма, вторичная печатная форма
74. офсетная формная пластина субтрактивного типа75. форма позитивного копированияtension lock-up plate — печатная форма, закреплённая натягом
test printing plate — контрольная печатная форма, тест-форма, печатная форма для контрольных испытаний
tipped-in plate — приклеенная иллюстрация, вклейка
76. триметаллическая формная пластина77. триметаллическая печатная формаtub-grained plate — пластина, зернённая шариками
water-cooled plate — форма, охлаждаемая водой, форма с водяным охлаждением
water-developed plate — копия, проявляемая водой
web supporting plate — лентонаправляющая пластина; пластина, служащая опорой для ленты
78. офсетная пластина для изготовления формы способом натирания79. офсетная печатная форма, изготовленная способом натиранияplate supporting surface — поверхность, несущая печатную форму
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16 Pouncy, John
SUBJECT AREA: Photography, film and optics[br]b. 1820 Englandd. 1894 Dorchester (?), Dorset, England[br]English photographer and pioneer of the gum bichromate permanent printing process.[br]A professional photographer working from a studio in Dorchester, Pouncy had a long interest in "permanent" photographs. In 1857 he published two volumes of photolithographed views of Dorset. He was later to devise a number of variations of the photolithographic process.Pouncy is best remembered for his pigment process, patented in 1858, using vegetable carbon, gum arabic and potassium bichromate. His prints exhibited at the London Photographic Society the same year were greatly admired. However, Pouncy's gum bichromate process was, in fact, covered by earlier patents filed by Poitevin, but this did not deter Pouncy from submitting his prints to the Duke of Lyne's competition for permanent photographs in 1859. For the excellence of his work, Pouncy was awarded the lesser part of the major prize won by Poitevin. Although Pouncy's work was not original, he pioneered the carbon process in England and can be considered the practical founder of the different technique of gum bichromate printing.[br]Bibliography10 April 1858, British patent no. 780 (gum bichromate permanent printing process).Further ReadingJohn Werge, 1890, The Evolution of Photography, London (an interesting contemporary account of Pouncy's work).J.M.Eder, 1945, History of Photography, trans. E. Epstean, New York.H.Gernshiem and A.Gernsheim, 1969, The History of Photography, rev. edn, London. G.Wakeman, 1973, Victorian Book Illustration, Great Britain (a good popular account of Pouncy's work).JW -
17 OPC
1) Компьютерная техника: Ole Process Control, OLE for Process Control, OLE для управления процессами ( производством)3) Военный термин: Ordnance Procurement Center, office of primary concern, operational code4) Техника: for process control OLE, operation code, optical picture control, фотобарабан5) Фармакология: олигомерные процианидины (oligomeric procyanidins)6) Автомобильный термин: Центр доработки Опель (Opel Perfomance Centre), онлайновый каталог запасных частей (Online Parts Catalogue)7) Оптика: optical phase conjugation8) Телекоммуникации: Origination Point Code (SS7)9) Сокращение: optician10) Физиология: Outpatient clinic11) Электроника: Optical Passive Component, Optical Proximity Correction, Optimal Pressable Ceramic, Optimum Power Calibration, Optimum Power Control, Organic Photo Conductor, Originating Point Code12) Вычислительная техника: OpenGL Performance Characterization, Overall Performance Category, OLE for Process Control (OLE, HMI, SCADA), OpenGL Performance Characterization (project group, OpenGL, organization)13) Нефть: Oil Policy Committee, Комитет по нефтяной политике (США; Oil Policy Committee)14) Биотехнология: Oligodendrocyte precursor cell15) Транспорт: Opel Performance Car16) Силикатное производство: ordinary portland cement17) Фирменный знак: Opel Performance Centre18) Экология: Oceanographic Data Processing Center19) Деловая лексика: Open Plant Cleaning20) Микроэлектроника: оптическая коррекция масок (optical proximity correction, при погружении в глубокий субмикрон)21) Телефония: Open peripheral controller22) Сахалин Р: oil productive capacity23) Океанография: Ocean Products Center24) Сахалин Ю: object linking and embedding for process control25) Расширение файла: Organic/Optical Photoconductor26) Строительные материалы: обычный портландцемент27) Электротехника: off-peak (operating) conditions, operating conditions, overspeed protection controller28) Печатные платы: organic photocopier29) Hi-Fi. Optimum Picture Control30) Должность: Online Parish Clerk31) Чат: Original Post Count32) AMEX. Q C Optics, Inc. -
18 Bayard, Hippolyte
SUBJECT AREA: Photography, film and optics[br]b. 1801 Breteuil-sur-Noye, France d. 1887[br]French photographer, inventor of an early direct positive paper process.[br]Educated as a notary's clerk, Bayard began his working life in Paris in the Ministry of Finance. His interest in art led him to investigations into the chemical action of light, and he began his experiments in 1837. In May 1839 Bayard described an original photographic process which produced direct positive images on paper. It was devised independently of Talbot and before details of Daguerre's process had been published. During the same period, similar techniques were announced by other investigators and Bayard became involved in a series of priority disputes. Bayard's photographs were well received when first exhibited, and examples survive to the present day. Because the process required long exposure times it was rarely practised, but Bayard is generally credited with being an independent inventor of photography.[br]Bibliography1840, Comptes rendus (24 February): 337 (the first published details of Bayard's process).Further ReadingH.Gernsheim and A.Gernsheim, 1969, The History of Photography, rev. edn, London.JW -
19 plate
1) пластина; плита2) формная пластина3) (печатная) форма4) стереотип; гальваностереотип || стереотипировать; изготовлять гальваностереотип5) фотопластинка6) наносить гальваническое [электролитическое] покрытие7) гравюра; эстамп; вкладная иллюстрация8) экслибрисАнгло-русский словарь по полиграфии и издательскому делу > plate
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20 Joly, John
SUBJECT AREA: Photography, film and optics[br]b. 1857 Holywood, King's County (now County Down, Northwern Ireland), Irelandd. 8 December 1933 Dublin, Eire[br]Irish pioneer of additive screen-plate colour photography.[br]Professor of Physics at Trinity College, Dublin, Joly developed a concept first suggested by Ducos du Hauron, creating in 1893 a process in which fine transparent red, green and blue lines, less than 0.1 mm wide, were ruled on a glass plate. The coloured inks were aniline dyes mixed with gum. This screen plate was held in close contact with a photographic negative plate which was exposed through the screen in a camera. The processed negative was printed onto a positive plate, and a viewing screen, similar to that used for taking, was bound up with it in careful register, to reproduce the original colours. The process was patented in 1894, and marketed in 1895. It was the first commercially successful additive screen-plate process to appear. While the results could be quite acceptable, the inadequate colour sensitivity of the negative plates then available limited the usefulness of this process. Professor Joly's other achievements included geological research and the treatment of cancer by radium.[br]Further ReadingJ.S.Friedman, 1944, History of Colour Photography, Boston.B.Coe, 1978, Colour Photography: The First Hundred Years, London. G.Koshofer, 1981, Farbfotografie, Vol. I, Munich.BC
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