process yield

см. тж. wafer yield

см. тж. process technology, yield, wafer

1) (bringing forward) (of evidence) Erbringung, die; (in physical form) Vorlage, die; (of witness) Beibringung, die; (of passport etc.) Vorzeigen, das

2) (public presentation) (Cinemat.) Produktion, die; (Theatre) Inszenierung, die; (of record, book) Herausgabe, die

3) (action of making) Produktion, die; (manufacturing) Herstellung, die; (thing produced) Produkt, das

4) (thing created) Werk, das; (Brit. Theatre): (show produced) Inszenierung, die

5) (causing) Hervorrufen, das

6) (bringing into being) Hervorbringung, die

7) (process of yielding) Produktion, die; (Mining) Förderung, die

8) (yield) Ertrag, der

* * *

1) (the act or process of producing something: car-production; The production of the film cost a million dollars.) die Produktion

2) (the amount produced, especially of manufactured goods: The new methods increased production.) die Produktion

3) (a particular performance, or set of repeated performances, of a play etc: I prefer this production of `Hamlet' to the one I saw two years ago.) die Aufführung

* * *

I. n

1. no pl (process) Produktion f, Herstellung f; of coal Förderung f; of energy Erzeugung f

\production of agricultural products Erzeugung f landwirtschaftlicher Produkte

to be [no longer] in \production [nicht mehr] hergestellt werden

to go into \production (factory) die Produktion aufnehmen; (product) in Produktion [o Fertigung] gehen

2. no pl (yield) Produktion f

drop in \production Produktionsrückgang m

agricultural \production landwirtschaftliche Produktion

industrial \production Industrieproduktion f

3. no pl FILM, TV, RADIO, MUS Produktion f; THEAT Inszenierung f

to do the \production [on a record] [eine Schallplatte] produzieren

to get into \production in das Produzieren einsteigen fam

to go into \production produziert werden

4. (finished film, etc.) Produktion f; (version of play/opera) Inszenierung f

5. no pl ( form: presentation) Vorweisen nt, Vorlegen nt

entry is permitted on \production of a ticket Einlass nur gegen Vorlage einer Karte

upon \production of your documents bei Vorlage Ihrer Papiere

▶ to make a \production [number] of sth aus etw dat ein Drama machen

II. n modifier

1. (of factory) (output, worker) Produktions-, Fertigungs-

\production schedule Fertigungsplan m

2. FILM (company, quality, studio) Produktions-

* * *

1) Produktion f; (IND) Produktion f, Herstellung f; (of electricity, energy, heat) Erzeugung f; (of crop) Anbau m; (of coal) Förderung f, Produktion f; (of book, article, essay) Schreiben nt; (of painting, sculpture) Anfertigung f; (of ideas, novel etc, masterpiece) Hervorbringung f

2) (= output) Produktion f

3) (= bringing forward, showing) (of ticket, documents) Vorzeigen nt; (of proof, evidence) Lieferung f, Beibringung f; (of witness) Beibringung f

4) (of play) Inszenierung f; (of film) Produktion f

* * *

production [prəˈdʌkʃn] s

1. (Kälte-, Strom- etc) Erzeugung f, (Rauch- etc) Bildung f:

2. WIRTSCH Produktion f, Herstellung f, Erzeugung f, Fabrikation f, Fertigung f:

be in production serienmäßig hergestellt werden;

be in good production in genügend großer Menge oder Zahl hergestellt werden;

a) die Produktion aufnehmen (Fabrik),

b) in Produktion gehen (Ware)

3. a) CHEM, MINER, Bergbau: Gewinnung f:

production of gold Goldgewinnung

b) Bergbau: Förderleistung f

4. (Arbeits)Erzeugnis n, ( auch Natur)Produkt n, Fabrikat n

5. fig ( meist literarisches) Produkt, Ergebnis n, Werk n, Schöpfung f, Frucht f

6. Hervorbringen n (von Künstlern etc)

7. Vorlage f (seines Ausweises etc)

8. Beibringung f (von Zeugen, Beweisen etc)

9. Vorbringen n, Anführung f (von Gründen)

10. Hervorholen n, -ziehen n ( beide:

from aus der Tasche etc)

11. MATH Verlängerung f

12. THEAT etc Aufführung f, Inszenierung f:

make a production (out) of sth fig umg viel Theater um etwas machen

13. a) FILM, TV Produktion f

b) THEAT, RADIO Br Regie f, Spielleitung f

* * *

1) (bringing forward) (of evidence) Erbringung, die; (in physical form) Vorlage, die; (of witness) Beibringung, die; (of passport etc.) Vorzeigen, das

2) (public presentation) (Cinemat.) Produktion, die; (Theatre) Inszenierung, die; (of record, book) Herausgabe, die

3) (action of making) Produktion, die; (manufacturing) Herstellung, die; (thing produced) Produkt, das

4) (thing created) Werk, das; (Brit. Theatre): (show produced) Inszenierung, die

5) (causing) Hervorrufen, das

6) (bringing into being) Hervorbringung, die

7) (process of yielding) Produktion, die; (Mining) Förderung, die

8) (yield) Ertrag, der

* * *

Inszenierung f. n.

Erzeugung f.

Herstellung f.

Produktion f.

Regie -n (Theater, Fernsehen) f.

   1) All Human Complex Problem Solving Is 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)

   2) Artificial Intelligence Models of Creative Association

   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)

   3) Creative Innovation and Social Independence

   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)

   4) Ego Strength and Emotional Stability among Creative Geniuses

   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)

   5) Its Mundane Character

   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)

   6) Mozart's Musical Ideas Came to Him in Polished Form

   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)

   7) Scientific Theories and Works of Art Alike Originate in Fantasy

   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)

   8) Self- Esteem and Creative Expression

   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)

   9) Stages in Creative Problem- Solving

   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)

    10) The Bisociative Pattern of the Creative Synthesis

   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 Disorder

   Even 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)

    12) The Inner Life of the Creative Process

   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)

    13) The Problem of What Impels the Creative Person

   [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)

    14) Theories of Creative Thinking

   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)

SUBJECT AREA: Chemical technology

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Haber's father was a manufacturer of dyestuffs, so he studied organic chemistry at Berlin and Heidelberg universities to equip him to enter his father's firm. But his interest turned to physical chemistry and remained there throughout his life. He became Assistant at the Technische Hochschule in Karlsruhe in 1894; his first work there was on pyrolysis and electrochemistry, and he published his Grundrisse der technischen Electrochemie in 1898. Haber became famous for thorough and illuminating theoretical studies in areas of growing practical importance. He rose through the academic ranks and was appointed a full professor in 1906. In 1912 he was also appointed Director of the Institute of Physical Chemistry and Electrochemistry at Dahlem, outside Berlin.

Early in the twentieth century Haber invented a process for the synthesis of ammonia. The English chemist and physicist Sir William Crookes (1832–1919) had warned of the danger of mass hunger because the deposits of Chilean nitrate were becoming exhausted and nitrogenous fertilizers would not suffice for the world's growing population. A solution lay in the use of the nitrogen in the air, and the efforts of chemists centred on ways of converting it to usable nitrate. Haber was aware of contemporary work on the fixation of nitrogen by the cyanamide and arc processes, but in 1904 he turned to the study of ammonia formation from its elements, nitrogen and hydrogen. During 1907–9 Haber found that the yield of ammonia reached an industrially viable level if the reaction took place under a pressure of 150–200 atmospheres and a temperature of 600°C (1,112° F) in the presence of a suitable catalyst—first osmium, later uranium. He devised an apparatus in which a mixture of the gases was pumped through a converter, in which the ammonia formed was withdrawn while the unchanged gases were recirculated. By 1913, Haber's collaborator, Carl Bosch had succeeded in raising this laboratory process to the industrial scale. It was the first successful high-pressure industrial chemical process, and solved the nitrogen problem. The outbreak of the First World War directed the work of the institute in Dahlem to military purposes, and Haber was placed in charge of chemical warfare. In this capacity, he developed poisonous gases as well as the means of defence against them, such as gas masks. The synthetic-ammonia process was diverted to produce nitric acid for explosives. The great benefits and achievement of the Haber-Bosch process were recognized by the award in 1919 of the Nobel Prize in Chemistry, but on account of Haber's association with chemical warfare, British, French and American scientists denounced the award; this only added to the sense of bitterness he already felt at his country's defeat in the war. He concentrated on the theoretical studies for which he was renowned, in particular on pyrolysis and autoxidation, and both the Karlsruhe and the Dahlem laboratories became international centres for discussion and research in physical chemistry.

With the Nazi takeover in 1933, Haber found that, as a Jew, he was relegated to second-class status. He did not see why he should appoint staff on account of their grandmothers instead of their ability, so he resigned his posts and went into exile. For some months he accepted hospitality in Cambridge, but he was on his way to a new post in what is now Israel when he died suddenly in Basel, Switzerland.

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1) сплав || сплавлять

2) вплавлять

3) легирующий элемент || легировать

1) сплав || сплавлять

2) легирующий элемент || легировать

•

- abrasion-resistant alloy

- antifriction alloy

- beta alloy

- binary alloy

1) управление; регулирование || управлять; регулировать

2) контроль || контролировать || контрольный

3) устройство [орган] управления

4) управление, управляющее воздействие

5) управляющий элемент, элемент управления (см. OLE control, ActiveX control)

•

- access control

SUBJECT AREA: Metallurgy

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After working as a millwright in Halifax, Riley found employment at the Ormesby Ironworks in Middlesbrough until, in 1869, he became manager of the Askam Ironworks in Cumberland. Three years later, in 1872, he was appointed Blast-furnace Manager at the pioneering Siemens Steel Company's works at Landore, near Swansea in South Wales. Using Spanish ore, he produced the manganese-rich iron (spiegeleisen) required as an additive to make satisfactory steel. Riley was promoted in 1874 to be General Manager at Landore, and he worked with William Siemens to develop the use of the latter's regenerative furnace for the production of open-hearth steel. He persuaded Welsh makers of tin plate to use sheets rolled from lowcarbon (mild) steel instead of from charcoal iron and, partly by publishing some test results, he was instrumental in influencing the Admiralty to build two naval vessels of mild steel, the Mercury and the Iris.

In 1878 Riley moved north on his appointment as General Manager of the Steel Company of Scotland, a firm closely associated with Charles Tennant that was formed in 1872 to make steel by the Siemens process. Already by 1878, fourteen Siemens melting furnaces had been erected, and in that year 42,000 long tons of ingots were produced at the company's Hallside (Newton) Works, situated 8 km (5 miles) south-east of Glasgow. Under Riley's leadership, steelmaking in open-hearth furnaces was initiated at a second plant situated at Blochairn. Plates and sections for all aspects of shipbuilding, including boilers, formed the main products; the company also supplied the greater part of the steel for the Forth (Railway) Bridge. Riley was associated with technical modifications which improved the performance of steelmaking furnaces using Siemens's principles. He built a gasfired cupola for melting pig-iron, and constructed the first British "universal" plate mill using three-high rolls (Lauth mill).

At the request of French interests, Riley investigated the properties of steels containing various proportions of nickel; the report that he read before the Iron and Steel Institute in 1889 successfully brought to the notice of potential users the greatly enhanced strength that nickel could impart and its ability to yield alloys possessing substantially lower corrodibility.

The Steel Company of Scotland paid dividends in the years to 1890, but then came a lean period. In 1895, at the age of 54, Riley moved once more to another employer, becoming General Manager of the Glasgow Iron and Steel Company, which had just laid out a new steelmaking plant at Wishaw, 25 km (15 miles) south-east of Glasgow, where it already had blast furnaces. Still the technical innovator, in 1900 Riley presented an account of his experiences in introducing molten blast-furnace metal as feed for the open-hearth steel furnaces. In the early 1890s it was largely through Riley's efforts that a West of Scotland Board of Conciliation and Arbitration for the Manufactured Steel Trade came into being; he was its first Chairman and then its President.

In 1899 James Riley resigned from his Scottish employment to move back to his native Yorkshire, where he became his own master by acquiring the small Richmond Ironworks situated at Stockton-on-Tees. Although Riley's 1900 account to the Iron and Steel Institute was the last of the many of which he was author, he continued to contribute to the discussion of papers written by others.

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[kənˈtrəul]

access control контроль доступа access control вчт. контроль за доступом accuracy control вчт. контроль правильности adaptive control вчт. адаптивное управление anticipatory control вчт. управление с прогнозированием appropriation control контроль за ассигнованиями arms control контроль над вооружениями assessment control контроль налогообложения to be beyond (или out of) control выйти из подчинения social control общественный контроль; to be in control, to have control over управлять, контролировать control надзор; сдерживание; контроль, проверка; регулирование; birth control регулирование рождаемости birth control контроль за рождаемостью birth control регулирование рождаемости border control пограничный контроль brightness control вчт. регулирование яркости изображения brightness control вчт. регулировка яркости to bring under control подчинить; to pass under the control (of smb.) перейти в (чье-л.) ведение budgetary control контроль исполнения сметы budgetary control контроль методом сличения со сметой budgetary control сметный метод контроля built-in control вчт. встроенный контроль carriage control вчт. управление кареткой cascade control вчт. каскадное управление channel control вчт. управление каналом circumstances outside one's control обстоятельства непреодолимой силы communications control вчт. управление передачей concurrency control вчт. контроль совпадений concurrency control вчт. управление параллелизмом concurrent-operations control вчт. управление параллельной работой continuous control вчт. непрерывное управление contrast control вчт. регулировка контраста contrast control регулятор контраста control борьба с отрицательными явлениями control владеть control власть control государственное регулирование control контролировать control контроль control контрольный control контрольный орган control контрольный пациент (в эксперименте); контрольное подопытное животное control радио модуляция control надзор; сдерживание; контроль, проверка; регулирование; birth control регулирование рождаемости control надзор control тех. настраивать control обусловливать; нормировать (потребление) control ограничение control проверка control проверять control распоряжаться control регулировать; контролировать; проверять control регулировать control регулировка control регулировка control руководить; господствовать; заправлять; иметь большинство (в парламенте и т. п.) control руководить control руководство control (обыкн. pl) радио ручки настройки радиоприемника control pl тех. рычаги управления control сдержанность, самообладание control сдержанность control сдерживать (чувства, слезы); to control oneself сдерживаться, сохранять самообладание control сдерживать control управление, руководство control вчт. управление control управление control управлять, распоряжаться control вчт. управлять control управлять control attr. контрольный; control experiment контрольный опыт control attr. контрольный; control experiment контрольный опыт experiment: control control контрольный эксперимент control of access контроль доступа control of epidemics борьба с эпидемическими заболеваниями control of foreign exchange transactions контроль валютных операций control of line limits страх. контроль по максимуму control of overdrafts контроль превышения кредита control of posting контроль бухгалтерских проводок control сдерживать (чувства, слезы); to control oneself сдерживаться, сохранять самообладание coordinated control вчт. согласованное регулирование cost control контроль за уровнем затрат credit control кредитная политика credit control кредитный контроль cursor control вчт. управление курсором customs control таможенный контроль damage control ремонтно-восстановительные работы dash control вчт. кнопочное управление data coherency control вчт. обеспечение непротиворечивости данных data control вчт. управление данными data flow control вчт. управление потоками данных data-initiated control вчт. управление с внешним запуском derivative control вчт. регулирование производной digital control вчт. цифровое управление direct control прямое регулирование direct control прямое управление discontinuous control вчт. прерывистое регулирование distribution control вчт. управление распространением economic control экономический контроль encoded control вчт. кодовое управление end-to-end-flow control вчт. сквозное управление потоком error control вчт. устранение ошибок exchange control валютный контроль, валютное регулирование exchange control валютный контроль exclusive control вчт. монопольное управление export control контроль за экспортом exposure control контроль риска потенциальных убытков feed control вчт. управление подачей feedback control вчт. управление с обратной связью feedforward control вчт. регулирование по возмущению financial control финансовый контроль finger-tip control вчт. сенсорное управление floating control вчт. астатическое регулирование flow control вчт. управление потоками flow control вчт. управление потоком данных format control вчт. управление форматом get under control попадать под влияние get under control попадать под контроль government control государственное регулирование government control государственный контроль government control правительственный контроль graphic attention control контроль с помощью мнемосхемы ground control радио наземное управление, управление с земли social control общественный контроль; to be in control, to have control over управлять, контролировать hazard control контроль степени риска home country control контроль внутри страны housing control контроль за жилищным строительством import control контроль импорта independent control вчт. автономное управление industrial control производственный контроль industrial control вчт. управление произвольным процессом inferential control вчт. косвенное регулирование input/output control вчт. управление вводом-выводов interacting control вчт. связанное регулирование interactive control вчт. управление в интерактивном режиме intermittent control вчт. прерывистое регулирование interrupt control вчт. контроль прерываний inventory control управление запасами keyboard control вчт. клавишное управление legality control контроль за законностью light pen control вчт. управление световым пером link control вчт. управление каналом связи main control вчт. основное управляющее воздействие manual control вчт. ручное управление marketing control регулирование сбыта marketing control управление маркетингом master control вчт. организующая программа materiel control склад. управление материально-техническим обеспечением medium-access control вчт. управление доступом к среде передачи данных memory control вчт. управление памятью micropramming control вчт. микропрограммное управление multicircuit control вчт. многоконтактная схема управления multipath control вчт. многоканальное управление multivariable control вчт. многосвязное регулирование nonlinear control вчт. нелинейное регулирование numeric control цифровое управление off-line control вчт. автономное управление on-off control вчт. двухпозиционное регулирование operation control управление хозяйственной деятельностью optimizing control вчт. экстремальное регулирование to bring under control подчинить; to pass under the control (of smb.) перейти в (чье-л.) ведение passport control паспортный контроль pen control вчт. управление световым пером physical control физическая проверка pollution control борьба с загрязнением pollution control контроль за загрязнениями portfolio control контроль портфеля активов prevention and control профилактика и контроль price control действия правительства по контролю над ценами price control контроль цен price control котроллирование цен (путем установления потолка цен на некоторые продукты) price control регулирование цен priority control вчт. приоритетное управление process control управление производственным процессом process control вчт. управление техническим процессом production control диспетчеризация production control контроль производства production control регулирование производства production control управление производственным процессом production yield control вчт. контроль выхода programmed control вчт. программное управление project control управление проектом proportional control вчт. линейное регулирование pulse control вчт. импульсное управление push-button control вчт. кнопочное управление quality control контроль качества quality control (QC) произ. проверка качества; контроль качества; управление качеством; регулирование качества rate control вчт. регулирование скоростью ratio control вчт. регулирование соотношения read control вчт. управление считыванием remote control дистанционное регулирование remote control дистанционное управление remote: control тех. дистанционный; действующий на расстоянии; remote control дистанционное управление, телеуправление rent control регулирование арендной платы rent control регулирование квартирной платы retarted control вчт. регулирование с запаздыванием risk control контроль риска selective credit control селективный кредитный контроль self-acting control вчт. саморегулирование self-operated control вчт. прямое управление sensitivity control вчт. регулирование чувствительности separate control надзор за выполнением соглашения о раздельном жительстве супругов sequential control последовательный контроль servo control вчт. следящее управление shared control вчт. совместное управление sight control вчт. визуальный контроль sign control вчт. контроль по знаку single-level control вчт. одноуровневое управление single-loop control вчт. одноконтурное регулирование slide control вчт. плавное регулирование social control общественный контроль; to be in control, to have control over управлять, контролировать split-cycle control вчт. быстрое регулирование step control вчт. ступенчатое регулирование step-by-step control вчт. шаговое регулирование stepless control вчт. непрерывное регулирование stock control вчт. контроль уровня запасов storage control comp. блок управления памятью storage control контроль уровня запасов storage control comp. управление памятью storage control comp. устройство управления памятью strict cost control жесткий контроль затрат supervisory control административно-технический надзор supervisory control вчт. диспетчерский контроль supervisory control диспетчерский контроль supervisory control оперативное руководство task control вчт. управление заданиями tax control налоговый контроль technical control технический контроль time-variable control вчт. регулирование во времени traffic control регулирование движения traffic control вчт. регулирование трафика transfer control вчт. управление передачей upsetting control вчт. задающее воздействие version control вчт. управление версиями write control вчт. управление записью

   1) To Exist Is to Be Perceived

   It is indeed an opinion strangely prevailing amongst men, that houses, mountains, rivers, and, in a word, all sensible objects, have an existence, natural or real, distinct from their being perceived by the understanding. But, with how great an assurance and acquiescence soever this principle may be entertained in the world, yet whoever shall find in his heart to call it into question may, if I mistake not, perceive it to involve a manifest contradiction. For, what are the forementioned objects but things we perceive by sense? and what do we perceive besides our own ideas or sensations? and is it not plainly repugnant that any one of these, or any combination of them, should exist unperceived? (Berkeley, 1996, Pt. I, No. 4, p. 25)

   2) Abstract Science or Demonstration Is a More Perfect Species of Knowledge

   It seems to me that the only objects of the abstract sciences or of demonstration are quantity and number, and that all attempts to extend this more perfect species of knowledge beyond these bounds are mere sophistry and illusion. As the component parts of quantity and number are entirely similar, their relations become intricate and involved; and nothing can be more curious, as well as useful, than to trace, by a variety of mediums, their equality or inequality, through their different appearances.

   But as all other ideas are clearly distinct and different from each other, we can never advance farther, by our utmost scrutiny, than to observe this diversity, and, by an obvious reflection, pronounce one thing not to be another. Or if there be any difficulty in these decisions, it proceeds entirely from the undeterminate meaning of words, which is corrected by juster definitions. That the square of the hypotenuse is equal to the squares of the other two sides cannot be known, let the terms be ever so exactly defined, without a train of reasoning and enquiry. But to convince us of this proposition, that where there is no property, there can be no injustice, it is only necessary to define the terms, and explain injustice to be a violation of property. This proposition is, indeed, nothing but a more imperfect definition. It is the same case with all those pretended syllogistical reasonings, which may be found in every other branch of learning, except the sciences of quantity and number; and these may safely, I think, be pronounced the only proper objects of knowledge and demonstration. (Hume, 1975, Sec. 12, Pt. 3, pp. 163-165)

   3) Knowledge Derives from Two Fundamental Sources of the Mind

   Our knowledge springs from two fundamental sources of the mind; the first is the capacity of receiving representations (the ability to receive impressions), the second is the power to know an object through these representations (spontaneity in the production of concepts).

   Through the first, an object is given to us; through the second, the object is thought in relation to that representation.... Intuition and concepts constitute, therefore, the elements of all our knowledge, so that neither concepts without intuition in some way corresponding to them, nor intuition without concepts, can yield knowledge. Both may be either pure or empirical.... Pure intuitions or pure concepts are possible only a priori; empirical intuitions and empirical concepts only a posteriori. If the receptivity of our mind, its power of receiving representations in so far as it is in any way affected, is to be called "sensibility," then the mind's power of producing representations from itself, the spontaneity of knowledge, should be called "understanding." Our nature is so constituted that our intuitions can never be other than sensible; that is, it contains only the mode in which we are affected by objects. The faculty, on the other hand, which enables us to think the object of sensible intuition is the understanding.... Without sensibility, no object would be given to us; without understanding, no object would be thought. Thoughts without content are empty; intuitions without concepts are blind. It is therefore just as necessary to make our concepts sensible, that is, to add the object to them in intuition, as to make our intuitions intelligible, that is to bring them under concepts. These two powers or capacities cannot exchange their functions. The understanding can intuit nothing, the senses can think nothing. Only through their union can knowledge arise. (Kant, 1933, Sec. 1, Pt. 2, B74-75 [p. 92])

   4) The Means by Which Metaphysics Can Be Perfected as a Science

   Metaphysics, as a natural disposition of Reason is real, but it is also, in itself, dialectical and deceptive.... Hence to attempt to draw our principles from it, and in their employment to follow this natural but none the less fallacious illusion can never produce science, but only an empty dialectical art, in which one school may indeed outdo the other, but none can ever attain a justifiable and lasting success. In order that, as a science, it may lay claim not merely to deceptive persuasion, but to insight and conviction, a Critique of Reason must exhibit in a complete system the whole stock of conceptions a priori, arranged according to their different sources-the Sensibility, the understanding, and the Reason; it must present a complete table of these conceptions, together with their analysis and all that can be deduced from them, but more especially the possibility of synthetic knowledge a priori by means of their deduction, the principles of its use, and finally, its boundaries....

   This much is certain: he who has once tried criticism will be sickened for ever of all the dogmatic trash he was compelled to content himself with before, because his Reason, requiring something, could find nothing better for its occupation. Criticism stands to the ordinary school metaphysics exactly in the same relation as chemistry to alchemy, or as astron omy to fortune-telling astrology. I guarantee that no one who has comprehended and thought out the conclusions of criticism, even in these Prolegomena, will ever return to the old sophistical pseudo-science. He will rather look forward with a kind of pleasure to a metaphysics, certainly now within his power, which requires no more preparatory discoveries, and which alone can procure for reason permanent satisfaction. (Kant, 1891, pp. 115-116)

   5) Knowledge Is Only Real in the Form of System

   Knowledge is only real and can only be set forth fully in the form of science, in the form of system. Further, a so-called fundamental proposition or first principle of philosophy, even if it is true, it is yet none the less false, just because and in so far as it is merely a fundamental proposition, merely a first principle. It is for that reason easily refuted. The refutation consists in bringing out its defective character; and it is defective because it is merely the universal, merely a principle, the beginning. If the refutation is complete and thorough, it is derived and developed from the nature of the principle itself, and not accomplished by bringing in from elsewhere other counter-assurances and chance fancies. It would be strictly the development of the principle, and thus the completion of its deficiency, were it not that it misunderstands its own purport by taking account solely of the negative aspect of what it seeks to do, and is not conscious of the positive character of its process and result. The really positive working out of the beginning is at the same time just as much the very reverse: it is a negative attitude towards the principle we start from. Negative, that is to say, in its one-sided form, which consists in being primarily immediate, a mere purpose. It may therefore be regarded as a refutation of what constitutes the basis of the system; but more correctly it should be looked at as a demonstration that the basis or principle of the system is in point of fact merely its beginning. (Hegel, 1910, pp. 21-22)

   6) Knowledge, Action, and Evaluation Are Interconnected

   Knowledge, action, and evaluation are essentially connected. The primary and pervasive significance of knowledge lies in its guidance of action: knowing is for the sake of doing. And action, obviously, is rooted in evaluation. For a being which did not assign comparative values, deliberate action would be pointless; and for one which did not know, it would be impossible. Conversely, only an active being could have knowledge, and only such a being could assign values to anything beyond his own feelings. A creature which did not enter into the process of reality to alter in some part the future content of it, could apprehend a world only in the sense of intuitive or esthetic contemplation; and such contemplation would not possess the significance of knowledge but only that of enjoying and suffering. (Lewis, 1946, p. 1)

   7) The Evolution of Knowledge

   "Evolutionary epistemology" is a branch of scholarship that applies the evolutionary perspective to an understanding of how knowledge develops. Knowledge always involves getting information. The most primitive way of acquiring it is through the sense of touch: amoebas and other simple organisms know what happens around them only if they can feel it with their "skins." The knowledge such an organism can have is strictly about what is in its immediate vicinity. After a huge jump in evolution, organisms learned to find out what was going on at a distance from them, without having to actually feel the environment. This jump involved the development of sense organs for processing information that was farther away. For a long time, the most important sources of knowledge were the nose, the eyes, and the ears. The next big advance occurred when organisms developed memory. Now information no longer needed to be present at all, and the animal could recall events and outcomes that happened in the past. Each one of these steps in the evolution of knowledge added important survival advantages to the species that was equipped to use it.

   Then, with the appearance in evolution of humans, an entirely new way of acquiring information developed. Up to this point, the processing of information was entirely intrasomatic.... But when speech appeared (and even more powerfully with the invention of writing), information processing became extrasomatic. After that point knowledge did not have to be stored in the genes, or in the memory traces of the brain; it could be passed on from one person to another through words, or it could be written down and stored on a permanent substance like stone, paper, or silicon chips-in any case, outside the fragile and impermanent nervous system. (Csikszentmihalyi, 1993, pp. 56-57)

1) условие || обусловливать

2) состояние || поддерживать (приводить в) определённое состояние

3) положение; ситуация

4) мн. ч. режим

5) мн. ч. параметры

6) кондиционировать

7) выдерживать (напр. древесину)

8) горн. подвергать обработке реагентами перед флотацией

9) текст. испытывать степень влажности

10) пищ. поддерживать свежее состояние или заданную влажность продукта