-
21 логический элемент
1. gate2. logic element3. logical element4. logical unitблочное тестирование; тестирование элементов — unit testing
5. logic unitединица данных; элемент данных — data unit
считывающий элемент; датчик — sensing unit
6. logical componentРусско-английский большой базовый словарь > логический элемент
-
22 Toyota production system
Opsa manufacturing system, developed by Toyota in Japan after World War II, which aims to increase production efficiency by the elimination of waste in all its forms. The Toyota production system was invented, and made to work, by Taiichi Ohno. Japan’s fledgling car-making industry was suffering from poor productivity, and Ohno was brought into Toyota with an initial assignment of catching up with the productivity levels of Ford’s car plants. In analyzing the problem, he decided that although Japanese workers must be working at the same rate as their American counterparts, waste and inefficiency were the main causes of their different productivity levels. Ohno identified waste in a number of forms, including overproduction, waiting time, transportation problems, inefficient processing, inventory, and defective products. The philosophy of TPS is to remove or minimize the influence of all these elements. In order to achieve this, TPS evolved to operate under lean production conditions. It is made up of soft, or cultural aspects, such as automation with the human touch— autonomation—and hard, or technical, aspects, which include just-in-time, kanban, and production smoothing. Each aspect is equally important and complementary. TPS has proven itself to be one of the most efficient manufacturing systems in the world but although leading companies have adopted it in one form or another, few have been able to replicate the success of Toyota.Abbr. TPS -
23 тепловыделяющий элемент
блочное тестирование; тестирование элементов — unit testing
Русско-английский военно-политический словарь > тепловыделяющий элемент
-
24 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
-
25 информационные технологии
информационные технологии
ИТ
Использование технологий для хранения, обмена передачи или обработки информации. Технологии обычно включают в себя компьютеры, телекоммуникации, приложения и прочее программное обеспечение. Информация может включать в себя бизнес-данные, голосовые данные, изображения, видео, и т.п. Информационные технологии часто используются для поддержки бизнес-процессов при помощи ИТ-услуг.
[Словарь терминов ITIL версия 1.0, 29 июля 2011 г.]
информационные технологии
Технологии поиска, сбора, хранения, обработки, предоставления, распространения информации и способы осуществления таких процессов и методов.
[ http://slovar-lopatnikov.ru/]EN
information technology
IT
The use of technology for the storage, communication or processing of information. The technology typically includes computers, telecommunications, applications and other software. The information may include business data, voice, images, video etc. Information technology is often used to support business processes through IT services.
[Словарь терминов ITIL версия 1.0, 29 июля 2011 г.]
information technology
computer-related assets of an organization that represent nonphysical assets, such as software applications, process programs and personnel files
NOTE 1 This use of the term information technology is not abbreviated throughout this document.
NOTE 2 Another use of the term information technology (IT) refers to the company’s internal organization (for example, the IT department) or the items traditionally maintained by this department (that is, the administrative computers, servers and network infrastructure). This use of the term information technology is abbreviated as IT throughout this standard.
[IEC 62443-2-1, ed. 1.0 (2010-11)]FR
traitement de l'information
actifs informatiques d’une organisation, correspondant à des actifs non physiques, tels que des applications logicielles, des programmes de pilotage de procédés et des fichiers concernant le personnel
NOTE 1 Cette utilisation du terme de traitement de l'information n’est pas abrégée dans l’ensemble du présent document.
NOTE 2 Une autre utilisation du terme de traitement de l'information (IT) désigne l’organisation interne à l’entreprise (par exemple, le service informatique) ou les éléments habituellement pris en charge par ce service (c’est-à-dire les ordinateurs administratifs, les serveurs et l’infrastructure réseau). Cette utilisation du terme de traitement de l'information est abrégée par le sigle IT dans l’ensemble de la présente norme.
[IEC 62443-2-1, ed. 1.0 (2010-11)]Тематики
Синонимы
- ИТ
EN
FR
Русско-английский словарь нормативно-технической терминологии > информационные технологии
- 1
- 2
См. также в других словарях:
Éléments XML — Extensible Markup Language Extensible Markup Language Extension de fichier .xml Type MIME application/xml, text/xml Développé par World Wide Web Consortium Type de format … Wikipédia en Français
Elements of graphical user interfaces — Graphical user interfaces, also known as GUIs, make it easier for people with little computer skills to work with and use computer software. It is a visual front to a piece of software that links the user to the internal workings of a computer,… … Wikipedia
Parallel Element Processing Ensemble — The Parallel Element Processing Ensemble (also known as PEPE) was one of the very early parallel computing systems. This computer was designed and built in the mid 1970s by Burroughs Corporation at their Great Valley Labs engineering facility in… … Wikipedia
Massive parallel processing — (MPP) is a term used in computer architecture to refer to a computer system with many independent arithmetic units or entire microprocessors, that run in parallel. The term massive connotes hundreds if not thousands of such units. Early examples… … Wikipedia
Analog signal processing — is any signal processing conducted on analog signals by analog means. Analog indicates something that is mathematically represented as a set of continuous values. This differs from digital which uses a series of discrete quantities to represent… … Wikipedia
Network Processing Forum — The Network Processing Forum (NPF) was organized to facilitate and accelerate the development of next generation networking and telecommunications products based on network processing technologies. The NPF was merged into the Optical… … Wikipedia
information processing — Acquisition, recording, organization, retrieval, display, and dissemination of information. Today the term usually refers to computer based operations. Information processing consists of locating and capturing information, using software to… … Universalium
Central processing unit — CPU redirects here. For other uses, see CPU (disambiguation). An Intel 80486DX2 CPU from above An Intel 80486DX2 from below … Wikipedia
mineral processing — or ore dressing Mechanical treatment of crude ores to separate the valuable minerals. Mineral processing was at first applied only to ores of precious metals but later came to be used to recover other metals and nonmetallic minerals. It is also… … Universalium
aluminum processing — Introduction preparation of the ore for use in various products. Aluminum, or aluminium (Al), is a silvery white metal with a melting point of 660° C (1,220° F) and a density of 2.7 grams per cubic centimetre. The most abundant… … Universalium
uranium processing — Introduction preparation of the ore for use in various products. Uranium (U), although very dense (19.1 grams per cubic centimetre), is a relatively weak, nonrefractory metal. Indeed, the metallic properties of uranium appear to be… … Universalium
