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1 permutation theory
Математика: теория перестановок -
2 permutation theory
teori permutasi -
3 permutation theory
мат. -
4 teori permutasi
permutation theory -
5 теория перестановок
permutation theory мат.Русско-английский научно-технический словарь Масловского > теория перестановок
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6 теория перестановок
Mathematics: permutation theoryУниверсальный русско-английский словарь > теория перестановок
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7 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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8 group
1) группа
2) группировка
3) группировочный
4) групповой
5) сгруппировать
6) сгруппировывать
7) <chem.> остаток
8) приводить подобные
9) ансамбль
10) группироваться
11) звено
12) партия
13) сгусток
14) узел
15) класс
16) радикал
17) классифицировать
– Abelian group
– abhomotopy group
– adjustment by group
– age group
– alternating group
– archimedean group
– backward group
– betweennes group
– center of group
– circle group
– cobordism group
– cohomology group
– continuous group
– covering group
– defect group
– dihedral group
– dihomology group
– dimensionless group
– directed group
– discontinuous group
– dispersible group
– einstufig group
– empennage group
– exceptional group
– factor group
– finite group
– grading group
– group averaging
– group code
– group comparison
– group contactor
– group delay
– group drive
– group germ
– group integration
– group modulation
– group modulator
– group of interprise
– group of six
– group rate
– group reference
– group selector
– group switch
– group theory
– group variety
– holonomy group
– homology group
– hyperexponential group
– icosahedral group
– imprimitive group
– infinite group
– infinitesimal group
– integrable group
– Lie group
– limit group
– link group
– metabelian group
– metacyclic group
– monodromy group
– multiplier of a group
– nilpotent group
– Noether group
– non-commutative group
– non-special group
– particle group
– permutation group
– phantom group
– primitive group
– projective group
– pulse group
– quotient group
– radical group
– renormalization group
– rotational group
– select group
– semisimple group
– simple group
– solvable group
– space group
– substitution group
– Sylow group
– symmetry group
– tetrahedral group
– torsion group
– torsion-free group
– track group
– transformation group
– trunk group
– unitary group
finitely generated group — <math.> группа с конечным числом образующих
group code recording — запись по способу группового кодирования
hyperemetric topological group — гиперметрическая топологическая группа
identity element of a group — <math.> элемент группы единичный
individual trunk group — неполнодоступный пучок соединительных линий
intact group sampling — <math.> выборка целыми группами
tank group farm — <energ.> нефтехранилище резервуарное групповое
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9 combinatorics
комбинаторика, комбинаторный анализраздел математики, изучающий дискретные объекты, множества (сочетания, перестановки, размещения и перечисление элементов) и отношения на них. Комбинаторика связана со многими другими областями математики - алгеброй, геометрией, теорией, и имеет широкий спектр применения, например в информатике. Термин "комбинаторика" был введён в математический обиход Лейбницем, который в 1666 году опубликовал свой труд "Рассуждения о комбинаторном искусстве".Syn:Англо-русский толковый словарь терминов и сокращений по ВТ, Интернету и программированию. > combinatorics
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10 equivalence
1) адекватность; эквивалентность3) равносильность; равноценность; равнозначность• -
11 model
1) макет; модель || моделировать2) образец4) модель, тип ( изделия)5) шаблон•- countably saturated model - countably uniform model - coupled channels model - finite state model - finitely generated model - game-theory model - random trial increment model - random walk model - sampling model
См. также в других словарях:
Permutation (disambiguation) — Permutation is a mathematical concept.Permutation may also refer to: * Permutation (music), a concept in musical set theory * Permutation (policy debate), a type of argument in policy debate * Permutation (album), an album by Brazilian electronic … Wikipedia
Permutation — For other uses, see Permutation (disambiguation). The 6 permutations of 3 balls In mathematics, the notion of permutation is used with several slightly different meanings, all related to the act of permuting (rearranging) objects or values.… … Wikipedia
Permutation matrix — In mathematics, in matrix theory, a permutation matrix is a square (0,1) matrix that has exactly one entry 1 in each row and each column and 0 s elsewhere. Each such matrix represents a specific permutation of m elements and, when used to… … Wikipedia
Permutation City — infobox Book | name = Permutation City title orig = translator = image caption = Cover of first edition (hardcover) author = Greg Egan illustrator = cover artist = country = Australia language = English series = genre = Science fiction novel… … Wikipedia
Permutation automaton — In automata theory, a permutation automaton, or pure group automaton, is a deterministic finite automaton such that each input symbol permutes the set of states.[1][2] Formally, a deterministic finite automaton A may be defined by the tuple (S, I … Wikipedia
Permutation (policy debate) — In policy debate, a permutation is an argument made by the 2AC to test the competition of a counterplan or kritik testing the comparative desirability of the plan and all or part of the counterplan or kritik against the counterplan or kritik by… … Wikipedia
Permutation (music) — In music, a permutation of a set is a transformation of its prime form by applying zero or more of certain operations , specifically transposition, inversion, and retrograde.The permutations resulting from applying the inversion or retrograde… … Wikipedia
Permutation cipher — In classical cryptography, a permutation cipher is a transposition cipher in which the key is a permutation.To apply a cipher, a random permutation of size e is generated (the larger the value of e the more secure the cipher). The plaintext is… … Wikipedia
Permutation graph — In areas of mathematics influenced by graph theory, a permutation graph is the intersection graph of a family of line segments that connect two parallel lines in the Euclidean plane. Equivalently, given a permutation ( sigma;1, sigma;2, sigma;3 … Wikipedia
Theory of conjoint measurement — The theory of conjoint measurement (also known as conjoint measurement or additive conjoint measurement) is a general, formal theory of continuous quantity. It was independently discovered by the French economist Gerard Debreu (1960) and by the… … Wikipedia
Group theory — is a mathematical discipline, the part of abstract algebra that studies the algebraic structures known as groups. The development of group theory sprang from three main sources: number theory, theory of algebraic equations, and geometry. The… … Wikipedia
