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1 process sketch
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2 sketch
1. n эскиз, набросок; зарисовка; абрисmemory sketch — эскиз, сделанный по памяти
2. n спец. кроки3. n очерк; заметки; краткий обзор4. n театр. скетчin their sketch they send up fashionable women who work for charitable causes — их скетч представляет собой сатиру на светских дам, занимающихся благотворительностью
5. n муз. обыкн. небольшая лёгкая пьеса, для фортепиано6. n редк. схема, план7. n воен. отчётная карточка8. v делать набросок; писать этюд9. v описывать в общих чертах, изображать схематическиСинонимический ряд:1. account (noun) account; report; version2. brief (noun) brief; outline; summary3. compendium (noun) apercu; compendium; digest; pandect; precis; survey; syllabus; sylloge4. drawing (noun) cartoon; drawing; figure; illustration; picture; representation; shape5. plan (noun) blueprint; chart; copy; description; design; diagram; draft; plan; skeleton6. play (noun) act; monograph; piece; play; routine; scene; skit; stint; vignette7. adumbrate (verb) adumbrate; block out; chalk out; characterize; rough in; rough out; skeleton; skeletonize8. draw (verb) delineate; depict; describe; design; draw; paint; portray; represent9. plan (verb) block; chalk; chart; draft; outline; picture; planАнтонимический ряд: -
3 sketch
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4 landscape sketch
1. геод. перспективный чертёж, перспективная схема местности; перспективные кроки2. воен. артиллерийская панорама местности -
5 area sketch
landscape sketch — перспективный чертёж, перспективная схема местности; перспективные кроки
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6 aerophotographic sketch
landscape sketch — перспективный чертёж, перспективная схема местности; перспективные кроки
English-Russian big polytechnic dictionary > aerophotographic sketch
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7 aerophotographical sketch
landscape sketch — перспективный чертёж, перспективная схема местности; перспективные кроки
English-Russian big polytechnic dictionary > aerophotographical sketch
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8 landscape sketch
English-Russian big polytechnic dictionary > landscape sketch
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9 diagrammatic sketch
The English-Russian dictionary general scientific > diagrammatic sketch
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10 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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11 design
1. n часто умысел2. n рел. божье провидение, божественный промысл3. n цель, намерениеwith design — с намерением, с целью
by design — намеренно; преднамеренно, предумышленно
design objective — цели проектирования; проектные параметры
4. n замысел; план, проект5. n планирование6. n вчт. проектирование; конструирование7. n чертёж, эскиз; конструкция; проект; расчёт8. n рисунок, узорpoor design — плохо выполненный, бедный, бедного рисунка
9. n модель10. n композиция11. n искусство композиции12. n дизайн; внешний вид, исполнение13. n произведение искусства14. v замышлять; намереваться; планировать15. v предназначать16. v составлять план, схему; планировать, проектировать, конструировать17. v вынашивать замысел; задумать18. v чертить; вычерчивать схему19. v заниматься проектированием, проектировать; быть проектировщиком, конструктором20. v исполнять, выполнять21. v книжн. собираться поехатьСинонимический ряд:1. figure (noun) device; figure; motif; motive; pattern; style2. intent (noun) aim; animus; end; goal; intendment; intent; intention; notion; object; objective; point; purpose; reason; target; thought; view3. makeup (noun) architecture; composition; constitution; construction; formation; makeup4. meaning (noun) drift; meaning; purport5. outline (noun) depiction; draft; illustration; ornament; outline; painting; stamp6. plan (noun) arrangement; blueprint; game plan; idea; lay out; layout; map; plan; plot; project; proposal; proposition; schema; scheme; strategy7. contrive (verb) conceive; contrive; fashion; hatch; model; think8. mean (verb) aim; contemplate; intend; mean; project; propose; purpose9. plan (verb) arrange; blueprint; cast; chart; devise; draw; draw up; frame; lay out; map; map out; plan; project; set out10. sketch (verb) delineate; outline; sketchАнтонимический ряд:accident; accomplish; achieve; artlessness; candour; chance; change; conjecture; construction; execute; execution; fairness; fluke; fortuity; guess -
12 Goodyear, Charles
[br]b. 29 December 1800 New Haven, Connecticut, USAd. 1 July 1860 New York, USA[br]American inventor of the vulcanization of rubber.[br]Goodyear entered his father's country hardware business before setting up his own concern in Philadelphia. While visiting New York, he noticed in the window of the Roxburgh India Rubber Company a rubber life-preserver. Goodyear offered to improve its inflating valve, but the manager, impressed with Goodyear's inventiveness, persuaded him to tackle a more urgent problem, that of seeking a means of preventing rubber from becoming tacky and from melting or decomposing when heated. Goodyear tried treatments with one substance after another, without success. In 1838 he started using Nathaniel M.Hayward's process of spreading sulphur on rubber. He accidentally dropped a mass of rubber and sulphur on to a hot stove and noted that the mixture did not melt: Goodyear had discovered the vulcanization of rubber. More experiments were needed to establish the correct proportions for a uniform mix, and eventually he was granted his celebrated patent no. 3633 of 15 June 1844. Goodyear's researches had been conducted against a background of crippling financial difficulties and he was forced to dispose of licences to vulcanize rubber at less than their real value, in order to pay off his most pressing debts.Goodyear travelled to Europe in 1851 to extend his patents. To promote his process, he designed a spectacular exhibit for London, consisting of furniture, floor covering, jewellery and other items made of rubber. A similar exhibit in Paris in 1855 won him the Grande Médaille d'honneur and the Croix de la Légion d'honneur from Napoleon III. Patents were granted to him in all countries except England. The improved properties of vulcanized rubber and its stability over a much wider range of temperatures greatly increased its applications; output rose from a meagre 31.5 tonnes a year in 1827 to over 28,000 tonnes by 1900. Even so, Goodyear profited little from his invention, and he bequeathed to his family debts amounting to over $200,000.[br]Principal Honours and DistinctionsGrande Médaille d'honneur 1855. Croix de la Légion d'honneur 1855.Bibliography15 June 1844, US patent no. 3633 (vulcanization of rubber).1853, Gum Elastic and Its Varieties (includes some biographical material).Further ReadingB.K.Pierce, 1866, Trials of an Inventor: Life and Discoveries of Charles Goodyear.H.Allen, 1989, Charles Goodyear: An Intimate Biographical Sketch, Akron, Ohio: Goodyear Tire \& Rubber Company.LRD -
13 design
1. verb(to invent and prepare a plan of (something) before it is built or made: A famous architect designed this building.) tegne, lage, formgi2. noun1) (a sketch or plan produced before something is made: a design for a dress.) tegning, mønster, design2) (style; the way in which something has been made or put together: It is very modern in design; I don't like the design of that building.) design, stil, utførelse, formgiving3) (a pattern etc: The curtains have a flower design on them.) mønster, motiv4) (a plan formed in the mind; (an) intention: Our holidays coincided by design and not by accident.) plan•- designer- designinghensikt--------mønster--------prøve--------skissere--------utkastIsubst. \/dɪˈzaɪn\/1) form(giving), design2) planlegging, planløsning3) utkast, skisse, plan, tegning4) konstruksjon, utførelse, utføring5) type, modell, utgave6) mønster, motiv7) anslag, (ond) plan, renker8) hensikt, formålby design tilsiktet, med viljea design on somebody's life et anslag mot noens livhave designs against somebody nære onde hensikter mot noenhave designs on somebody legge an på noenhave designs on something ville ha tak i noeIIverb \/dɪˈzaɪn\/1) formgi, designe2) tegne (konturene av), skissere, lage utkast til3) skape, konstruere, utføre, bygge4) planlegge, tenke ut, beregne, pønske ut, klekke ut5) tilsikte, være ment for, bestemme6) ha til hensikt, ha som formål, akte -
14 design
[dɪ'zaɪn] 1. n(art, process) projektowanie nt; ( drawing) projekt m; (layout, shape) zaprojektowanie nt; ( pattern) deseń m; ( intention) zamiar m, zamysł m2. vt* * *1. verb(to invent and prepare a plan of (something) before it is built or made: A famous architect designed this building.) projektować2. noun1) (a sketch or plan produced before something is made: a design for a dress.) projekt, model2) (style; the way in which something has been made or put together: It is very modern in design; I don't like the design of that building.) styl3) (a pattern etc: The curtains have a flower design on them.) wzór4) (a plan formed in the mind; (an) intention: Our holidays coincided by design and not by accident.) zamysł•- designer- designing -
15 passage
проезд имя существительное:пассаж (passage, passageway)перевал (pass, passage)право прохода (passage, easement)глагол: -
16 Empire, Portuguese overseas
(1415-1975)Portugal was the first Western European state to establish an early modern overseas empire beyond the Mediterranean and perhaps the last colonial power to decolonize. A vast subject of complexity that is full of myth as well as debatable theories, the history of the Portuguese overseas empire involves the story of more than one empire, the question of imperial motives, the nature of Portuguese rule, and the results and consequences of empire, including the impact on subject peoples as well as on the mother country and its society, Here, only the briefest account of a few such issues can be attempted.There were various empires or phases of empire after the capture of the Moroccan city of Ceuta in 1415. There were at least three Portuguese empires in history: the First empire (1415-1580), the Second empire (1580-1640 and 1640-1822), and the Third empire (1822-1975).With regard to the second empire, the so-called Phillipine period (1580-1640), when Portugal's empire was under Spanish domination, could almost be counted as a separate era. During that period, Portugal lost important parts of its Asian holdings to England and also sections of its colonies of Brazil, Angola, and West Africa to Holland's conquests. These various empires could be characterized by the geography of where Lisbon invested its greatest efforts and resources to develop territories and ward off enemies.The first empire (1415-1580) had two phases. First came the African coastal phase (1415-97), when the Portuguese sought a foothold in various Moroccan cities but then explored the African coast from Morocco to past the Cape of Good Hope in South Africa. While colonization and sugar farming were pursued in the Atlantic islands, as well as in the islands in the Gulf of Guinea like São Tomé and Príncipe, for the most part the Portuguese strategy was to avoid commitments to defending or peopling lands on the African continent. Rather, Lisbon sought a seaborne trade empire, in which the Portuguese could profit from exploiting trade and resources (such as gold) along the coasts and continue exploring southward to seek a sea route to Portuguese India. The second phase of the first empire (1498-1580) began with the discovery of the sea route to Asia, thanks to Vasco da Gama's first voyage in 1497-99, and the capture of strong points, ports, and trading posts in order to enforce a trade monopoly between Asia and Europe. This Asian phase produced the greatest revenues of empire Portugal had garnered, yet ended when Spain conquered Portugal and commanded her empire as of 1580.Portugal's second overseas empire began with Spanish domination and ran to 1822, when Brazil won her independence from Portugal. This phase was characterized largely by Brazilian dominance of imperial commitment, wealth in minerals and other raw materials from Brazil, and the loss of a significant portion of her African and Asian coastal empire to Holland and Great Britain. A sketch of Portugal's imperial losses either to native rebellions or to imperial rivals like Britain and Holland follows:• Morocco (North Africa) (sample only)Arzila—Taken in 1471; evacuated in 1550s; lost to Spain in 1580, which returned city to a sultan.Ceuta—Taken in 1415; lost to Spain in 1640 (loss confirmed in 1668 treaty with Spain).• Tangiers—Taken in 15th century; handed over to England in 1661 as part of Catherine of Braganza's dowry to King Charles II.• West Africa• Fort/Castle of São Jorge da Mina, Gold Coast (in what is now Ghana)—Taken in 1480s; lost to Holland in 1630s.• Middle EastSocotra-isle—Conquered in 1507; fort abandoned in 1511; used as water resupply stop for India fleet.Muscat—Conquered in 1501; lost to Persians in 1650.Ormuz—Taken, 1505-15 under Albuquerque; lost to England, which gave it to Persia in the 17th century.Aden (entry to Red Sea) — Unsuccessfully attacked by Portugal (1513-30); taken by Turks in 1538.• India• Ceylon (Sri Lanka)—Taken by 1516; lost to Dutch after 1600.• Bombay—Taken in 16th century; given to England in 1661 treaty as part of Catherine of Braganza's dowry for Charles II.• East Indies• Moluccas—Taken by 1520; possession confirmed in 1529 Saragossa treaty with Spain; lost to Dutch after 1600; only East Timor remaining.After the restoration of Portuguese independence from Spain in 1640, Portugal proceeded to revive and strengthen the Anglo- Portuguese Alliance, with international aid to fight off further Spanish threats to Portugal and drive the Dutch invaders out of Brazil and Angola. While Portugal lost its foothold in West Africa at Mina to the Dutch, dominion in Angola was consolidated. The most vital part of the imperial economy was a triangular trade: slaves from West Africa and from the coasts of Congo and Angola were shipped to plantations in Brazil; raw materials (sugar, tobacco, gold, diamonds, dyes) were sent to Lisbon; Lisbon shipped Brazil colonists and hardware. Part of Portugal's War of Restoration against Spain (1640-68) and its reclaiming of Brazil and Angola from Dutch intrusions was financed by the New Christians (Jews converted to Christianity after the 1496 Manueline order of expulsion of Jews) who lived in Portugal, Holland and other low countries, France, and Brazil. If the first empire was mainly an African coastal and Asian empire, the second empire was primarily a Brazilian empire.Portugal's third overseas empire began upon the traumatic independence of Brazil, the keystone of the Lusitanian enterprise, in 1822. The loss of Brazil greatly weakened Portugal both as a European power and as an imperial state, for the scattered remainder of largely coastal, poor, and uncolonized territories that stretched from the bulge of West Africa to East Timor in the East Indies and Macau in south China were more of a financial liability than an asset. Only two small territories balanced their budgets occasionally or made profits: the cocoa islands of São Tomé and Príncipe in the Gulf of Guinea and tiny Macau, which lost much of its advantage as an entrepot between the West and the East when the British annexed neighboring Hong Kong in 1842. The others were largely burdens on the treasury. The African colonies were strapped by a chronic economic problem: at a time when the slave trade and then slavery were being abolished under pressures from Britain and other Western powers, the economies of Guinea- Bissau, São Tomé/Príncipe, Angola, and Mozambique were totally dependent on revenues from the slave trade and slavery. During the course of the 19th century, Lisbon began a program to reform colonial administration in a newly rejuvenated African empire, where most of the imperial efforts were expended, by means of replacing the slave trade and slavery, with legitimate economic activities.Portugal participated in its own early version of the "Scramble" for Africa's interior during 1850-69, but discovered that the costs of imperial expansion were too high to allow effective occupation of the hinterlands. After 1875, Portugal participated in the international "Scramble for Africa" and consolidated its holdings in west and southern Africa, despite the failure of the contra-costa (to the opposite coast) plan, which sought to link up the interiors of Angola and Mozambique with a corridor in central Africa. Portugal's expansion into what is now Malawi, Zambia, and Zimbabwe (eastern section) in 1885-90 was thwarted by its oldest ally, Britain, under pressure from interest groups in South Africa, Scotland, and England. All things considered, Portugal's colonizing resources and energies were overwhelmed by the African empire it possessed after the frontier-marking treaties of 1891-1906. Lisbon could barely administer the massive area of five African colonies, whose total area comprised about 8 percent of the area of the colossal continent. The African territories alone were many times the size of tiny Portugal and, as of 1914, Portugal was the third colonial power in terms of size of area possessed in the world.The politics of Portugal's empire were deceptive. Lisbon remained obsessed with the fear that rival colonial powers, especially Germany and Britain, would undermine and then dismantle her African empire. This fear endured well into World War II. In developing and keeping her potentially rich African territories (especially mineral-rich Angola and strategically located Mozambique), however, the race against time was with herself and her subject peoples. Two major problems, both chronic, prevented Portugal from effective colonization (i.e., settling) and development of her African empire: the economic weakness and underdevelopment of the mother country and the fact that the bulk of Portuguese emigration after 1822 went to Brazil, Venezuela, the United States, and France, not to the colonies. These factors made it difficult to consolidate imperial control until it was too late; that is, until local African nationalist movements had organized and taken the field in insurgency wars that began in three of the colonies during the years 1961-64.Portugal's belated effort to revitalize control and to develop, in the truest sense of the word, Angola and Mozambique after 1961 had to be set against contemporary events in Europe, Africa, and Asia. While Portugal held on to a backward empire, other European countries like Britain, France, and Belgium were rapidly decolonizing their empires. Portugal's failure or unwillingness to divert the large streams of emigrants to her empire after 1850 remained a constant factor in this question. Prophetic were the words of the 19th-century economist Joaquim Oliveira Martins, who wrote in 1880 that Brazil was a better colony for Portugal than Africa and that the best colony of all would have been Portugal itself. As of the day of the Revolution of 25 April 1974, which sparked the final process of decolonization of the remainder of Portugal's third overseas empire, the results of the colonization program could be seen to be modest compared to the numbers of Portuguese emigrants outside the empire. Moreover, within a year, of some 600,000 Portuguese residing permanently in Angola and Mozambique, all but a few thousand had fled to South Africa or returned to Portugal.In 1974 and 1975, most of the Portuguese empire was decolonized or, in the case of East Timor, invaded and annexed by a foreign power before it could consolidate its independence. Only historic Macau, scheduled for transfer to the People's Republic of China in 1999, remained nominally under Portuguese control as a kind of footnote to imperial history. If Portugal now lacked a conventional overseas empire and was occupied with the challenges of integration in the European Union (EU), Lisbon retained another sort of informal dependency that was a new kind of empire: the empire of her scattered overseas Portuguese communities from North America to South America. Their numbers were at least six times greater than that of the last settlers of the third empire.Historical dictionary of Portugal > Empire, Portuguese overseas
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17 Winsor, Frederick Albert
SUBJECT AREA: Public utilities[br]b. 1763 Brunswick, Germanyd. 11 May 1830 Paris, France[br]German pioneer of gas lighting,[br]He was born Frederic Albrecht Winzer but anglicized his name after settling in England. His interest in gas lighting was aroused by the experiments of Philippe Lebon in Paris in 1802. Winsor had little scientific knowledge or engineering ability, but was well endowed with confidence and enterprise. He alone among the early practitioners of gas-making envisaged a central plant supplying a number of users through gas mains. He managed to discover the essentials of Lebon's process and tried without success to exploit it on the European continent. So he moved to England in 1803 and settled first in Grosvenor Square and then in Pall Mall. He gave public demonstrations of gas lighting at the Lyceum Theatre in London and in 1804 took out his first patent. In December he lit Pall Mall, the first street to be illuminated by gas. Winsor then began to promote a grandiose scheme for the formation of a National Light and Heat Company. He struggled against bitter opposition both in and out of Parliament to obtain sanction for his company, and it was only after the third attempt that the Gas Light \& Coke Company received its charter in 1812. However, Winsor lacked the knowledge to devise successful gas-producing plant, even with the help of the German immigrant chemist F.C.Accum. Winsor was dismissed in 1812 and returned to Paris the following year, while the company recovered with the appointment of an able engineer, Samuel Clegg. Winsor formed a company in Paris to install gas lighting, but that failed in 1819.[br]Further ReadingW.Matthew, 1827, An Historical Sketch of the Origin, Progress and Present State of Gaslighting, London.E.G.Stewart, 1958, Town Gas, Its Manufacture and Distribution, London: Science Museum.LRDBiographical history of technology > Winsor, Frederick Albert
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Serape — Wearing a serape An example of a serape pa … Wikipedia
drawing — /draw ing/, n. 1. the act of a person or thing that draws. 2. a graphic representation by lines of an object or idea, as with a pencil; a delineation of form without reference to color. 3. a sketch, plan, or design, esp. one made with pen, pencil … Universalium
Saturday Night Live — For the competing sketch comedy on ABC, see Saturday Night Live with Howard Cosell. SNL redirects here. For other uses, see SNL (disambiguation). Saturday Night Live The Saturday Night Live inter title season 37 Also known as … Wikipedia
Phonofilm — In 1919, Lee De Forest, inventor of the audion tube, filed his first patent on a sound on film process, DeForest Phonofilm, which recorded sound directly onto film as parallel lines. These parallel lines photographically recorded electrical… … Wikipedia
On the Origin of Species — Origin of Species redirects here. For other uses, see Origin of Species (disambiguation). On the Origin of Species … Wikipedia
The Organ — Infobox musical artist Name = The Organ Img capt = Background = group or band Origin = Vancouver, British Columbia Canada Genre = Indie Alternative New Wave url = title = author = work = date = accessdate = Years active = 2001–2006 Label = Mint… … Wikipedia
Spanish Inquisition — The Spanish Inquisition started and was established in 1478 by Catholic Monarchs Ferdinand II of Aragon and Isabella I of Castile to maintain Catholic orthodoxy in their kingdoms, and to replace the medieval inquisition which was under papal… … Wikipedia
